100154
Music is Love in search of a word SYDNEY LANIER.
Thoroughly Raised, and Augmented by an Appendix
of ?00 Additional Words and Phrases
DICTIONARY
OF
MUSICAL TERMS
Containing upwards of 9,000 English, French, German, Italian,
Latin and Greek words and phrases used in the art and
science of music, carefully defined, and with the accent
of the foreign words marked; preceded by rules for
the pronunciation of Italian, German and French.
WITH A
SUPPLEMENT
CONTAINING
An EngUsh-ItaUcpi Vocabulary f of Composers
COMPILED AND EDITED
BT
DR. TH. BAKER
G. SCHIRMER, INC., NEW YORK
Copyright, 1895, by G. Schirmer, Inc.
Copyright renewal assigned, 1923, to G. Schirmer. Inc.
12655
Panted in the U. S. A.
PREFACE.
IT is the aim of this Dictionary of Musical Terms to furnish an accurate and
concise explanation of any technical word or phrase which the student is apt to
meet with, The English vocabulary will be found practically exhaustive, Want
of space forbade making the foreign vocabulary equally so ; but the editor has
endeavored to preserve a pr&per balance by giving any term, appearing in either
German, French, or Italian, in each of :hose languages, thus maintaining a con-
sistent polyglot character so far as necessary limitations permitted.
The scope of the work, which is rather a dictionary than a lexicon, rendered
the editor's task more that of a compiler than of an original investigator. Most of
the material here presented has been gleaned from numerous standard works of
reference, such as those of Grove (Dictionary), Riemann (Musik-Lexikon), Gevaert
(Instrumentation), Weitzmann (History of Pianoforte-Playing), Stainer and Barrett,
Ambros (Geschichte der Musik), Paul (Handlexikon), Soullier "(Dictionnaire),
Helmholtz (Tonempfindungen), Niecks, The Century Dictionary, many English,
German, French, and Italian periodicals and musical journals, etc., etc. Literal
quotations are duly credited to their sources ; condensations and adaptations, how-
ever, are, for obvious reasons, not so credited, and must, therefore, be included
under this general acknowledgment. The information so gathered has been care-
fully sifted, and supplemented by the personal researches of over ten years.
Due credit should be given to Dr. William Mason for suggesting the Supple-
ment, containing an " English-Italian Vocabulary for Composers lf , to which Dn
Mason also contributed valued additions.
HINTS ON PRONUNCIATION.
Vowels :
ITALIAN.
General rule: The vowels are very
open, and never to be pronounced
as impure vowels or diphthongs ;
they are long in accented syllables
which they terminate, short in
unaccented syllables, or in accented
ones ending with a consonant.
a like ah or ah (never &) ; e.g. amare
[pron. ali-mah'-rfli],
e " ay in bay (without the vanish i}\
/in bed ; a in bare (before r).
i " ee in beet ; i in bit ; i before a
vowel, like y (consonant).
o " aw, or oh (without the vanish
tl) ; 6 in Opinion.
u " 00 ia boot; win bull.
Consonants:
General rule ; Even the hard con-
sonants are somewhat softer' than
in English; the soft consonants
- are very delicate.
b, d, f, 1, m, n, p, qu, s, t, v, as in
English.
C like t, before a, o, u t or another
consonant except c, as "below.
c " ' ch in chair before e or i; cc
like t-ch before e or i.
g " g hard before 0,0, tf, or another
consonant ; except before / (pro-
nounce gl like l-y [consonant],
e.g. sugli, [pron. sool'-ye]), and
n (pronounce # like?? in caJion
[kan'-yon]).
g " z in azure (or a very soft j) be-
fore e or i.
h is mute.
j like y in you.
r, pronounce with a roll (tip of tongue
against hard palate).
Where a doubled consonant oc-
curs, the* first syllable is dwelt
upon; e.g. in' ecco [pronounce
ek'-ko, not ek'-o]. Accented
. syllables take a less explosive stress
* These " hints * are offered as an aid for
tyros, and not in the least as an exhaustive let of
rules.
than in English, being prolonged
and dwelt upon rather than forci-
bly marked,
sc like sh, before e and f,
z " rfj (very soft fo).
Vowels:
GERMAN,
The simple vowels as in Italian J
y like German * or 4.
Modified vowels :
a like a in bare, but broader ; /in bed.
5 has no English equivalent ; long 9
can be pronounced by forming
the lips to say ok t and then
saying d (as in bay) with the
lips in the first position ; short
0, by saying / (as in bed) instead
of & [N.B. Long o is the
French eu (in /?)]. ^
ii has np English equivalent; pro-
nounce long u by forming the
lips to say oo (as in boot), and
then saying ee (beet) with the
lips in the first position ; short
n, by saying / (as in bit) instead
of ee. [N.B. Long & is the
French .]
Diphthongs :
ai and ei like long I in bite.
ae like a.
au " <w in brow.
eu and au like ri (more exactly atfrf,
' closely drawn together).
Consonants :
f, h, k, 1, m, n, p, t, as in English.
b and d, beginning a word or syllable,
as in English ; ending a word
or syllable, like /and t respec-
tively.
c like k before a, o, and ; like is
before *, , and &
g usually hard, but like * in azure in
words from the French and
Italian in which g is so sounded ;
,
terminate, at the end of $. word,
wjth a >5-sound (e.g,
HINTS ON PRONUNCIATION.
j like ^(consonant).
qtt " to. i t .
r either with a roll, or a harsh breath-
ingt
8 beginning a word or syllable, and
before a vowel, like * (soft) ;
ending a word or syllable, like
sharp t; before / and /, begin-
ning a word, usually like $h
(e.g. sfomm, pron. shtum [ as
in bull]) ; otherwise as in Eng-
lish.
vlifce/ , .
w * if (but softer, between v and w).
x " jb (also when beginning a word).
2 " ft.
Compound consonants :
ch is a sibillant without an English
equivalent ; when beginning a
syllable, or after t, z, fl, <?, , at,
et, a, <?, and *, it is ^// (set
the tongue as if to pronounce rf,
and breathe an h through it ; e.g.
Strith, pron. shtrtd-h); after
a, 0, , and MI, it is hard (a
guttural )-
chs like x.
sch '* *&.
Sand st, see j, above,
like t.
Accented syllables have % a forcible
stress, as in English. In com-
pound words there is always a
secondary accent( /y ), sometimes a
tertiary one('"), depending on the
number of separate words enter-
ing into the composition of the
compound' word ; e.g, Zwi'sckwr
aktf"nudk", Bo'genhamf'merkla-
vier"'. The principal accent is
regularly marked Q in this work.
FRENCH,
ifcwels:
a as in Italian, but shorter, often ap-
proaching English &
a like ah.
c " u in but ; ^-final is dmost silent
in polysyllabic words.
" ay in bay,
e u /in there.
" German ti, and always long.
i or i like ee in beet ; short I as in
English,
as in Italian.
ii like the German &
Diphthongs;
ai like ai in fair; but before Uinal, or
//, is pronounced as a diphthong
(alf-eci drawn closely together).
aiandeilTke*.
eu, eii and ceu like German o.
01 like oMtf (drawn closely together).
ou and ou like oo in boot.
eau like o long, without the vanish #.
Modified by a following n, m, nd, nt or
mt at the end of a syllable, the
vowels and diphthongs are nasal
(exception, verbal ending of
3rd pers. plural).
Consonants as in English, with the
following 1 exceptions :
C like s in song before e, /, I, t, and t.
ch " *h.
g " 'in azure before e, /, ^ ^ and i.
gn as in Italian.
h is mute ; the treatment of initial h
cannot be explained here,
i like z in azure,
11 after i is usually sounded like Eng-
lish;/ (consonant), and frequent-
ly prolongs the i (ee) ; e.g.
, trawiller [trah-v&h-a, tran-
n nasal, see above; otherwise as in
English. [The nasal effect is
accurately obtained by sounding
n (or m) together with (instead
of after) the preceding vowel ;
but the sound of e is changed
to ah, i to & (in bat), and u
to eu.]
m, nasal in certain situations.
r with a roll.
s-final is silent *
t-final is silent.
er, et, es, est, ez, as final syllables,
are pronounced like <
Accentuation, The strong English
stress on some one syllable of a
polysyllabic word is wanting in
French ; the general rule issKf&tfy
to accent the last syllable.
A
DICTIONARY
OF
MUSICAL TERMS.
A-ABBREVIATIONS.
A.
A* i. (Ger. A; Fr. and It. la.) The
sixth tone in the typiui diatonic scale
of C-major. ^"Le tone a 1 (see Pitch,
absolute) is that sounded by the oboe or
other fixed-tone instr. (pfte., organ) to
give the pitch for the other instr. s of
the orchestra or militarv band. 2. In
mus. theory, capital A otten designates
the A -major triad, small a the rt-minor
triad. 3. In scores, the capitals, or
doubled letters (A a Z z), are often set
at the head of main divisions or at any
critical point to facilitate repetition at
rehearsal, 4. As an Italian (or French)
preposition, a (or a) signifies to, at, for,
by, in, etc. 5. Aft ajji a|j, see Sharp,
Flat, Natural 6. At the head of
Gregorian ' antiphones, etc., A means
that the first mode is to be employed,
7. In this Dictionary, an -a appended
to an Italian word signifies, that in the
feminine form a is substituted for the
masculine termination 0.
Ab (Ger.) Off (organ-music).
Ab'acus harmon'icus (Lat.) i. A dia-
gram of the notes, with their names.
2. The structure and disposition of the
digitals and pedals of a mus. instr.
Abandon (Fr.) Unrestrained abandon,
ment to natural emotion ; avec a., same
as con abbandono*
A, See A.
Abb. Abbassamento
Abbandonatamen'te ) (It.) In an im<
Abbando'no, con j passioned style,
as if carried away by emotion ; subordi-
nation of rhythm and tempo tc expres-
sion.
Abbassamen'to (It., abbr. alb.) c< Lov/>
ering " ; indicates in pfte.-playing that
one hand is to play below the other,
opp. to alzamen'to...A. di ma'no, sink-
ing of the hand in beating time ; A. di
vo'ce^ diminution (in volume) of the
voice.
Abbattimen'tp (It) Falling of the
hand in beating time ; the down-beat.
Abbellimen'to) (It.) Embellishment,
Abbellitu'ra ^ } ornament, grace;
from abbelfrre, to embellish.
Abljetont (Ger.) With final accent.
Abbreviation (Ger. AbbreviatuS, Ab'~
kurzung; Fr. abrMation; It. abbrevia*
tu'ra.) [In this Dictionary, any key-
word recurring in the article which it
heads will be represented by its initial
letter or letters ; for instance, Abbassa-
menlo above by A. Also, various other
* abbreviations are used, such as abbr.
for abbreviation, instr. for instrument,
mus. for musical, ffte. for pianoforte,
opp. for opposed, etc.]
r. The commonest abbreviations^ of
musical technical terms are the following :
Ace. )
Accom. > Accompaniment
Accomp. J
Accres. Accrascendo
Adg,orAd, Adagio
Ad lib. Ad libitum
Aevia Alleluia
Affett. Affettuoso
Affrett. Affrettando
. or Agit . Agitato
tE'^"! 8 ""
Aug. By augmentation
B. SeeB.
All'fiva r AU'ottava
B.C. Basso continuo
Alseg. Al segno
Alz. Alzamento
And no . Andandno
E.G. Basso generale, or Bassui
generalis
Bl. Blasinstrument
And te . Andante
Br. Bratschen
Anirn . Animato
Brill. Brillan^
Arc. Col 1'arco, or Arcato.
Ard. Ardito
C. SeeC
, Arp. Arpeggio
A t. )
C, a. Coirarco
Cad. Cadenza
A tern. \ A tempo
A temp. )
Cah. Cahier
Cal. Calando
ABBREVIATIONS.
Cabs. Calmato
Cant. Canto t
Caatab. Cantabile
Hptw,,orH.W. Hauptwerk
Hr., orHrn. HOrner
S. SeeS.
Salic. Salicional
Scherz. Scherzando
Cb. Contrabasso
C. B. Col basso
Intro. Introduction
Inv. Inversion
Seg. Segue
Sem. or Semp. Sempre
Cb. ContrabSsse
j/, $jZ) ^Jj otorzajiGO
C.D. Colla destra
>CeBo. Violoncello
Cemb. Cembalo
Ch. Choir-organ
Ctal. Chalumeau
Qf I* Canto primo
CU Collegno
Oar. Clarinet
Gar*. Clarino
Ckr 1 * . Clarinetto
Col c. Col canto
K.F. KleineFl8te
L. See L.
Leg. Legato
Legg. Leggero, Leggiero
L.H. Left hand, Imle Hand
Lo. Loco
Luo. Luogo
Lusing, Lusingando
Sim. Simile
Sin. Sinistra
Sinf. Sinfonia
S. int. Senza interruzione
Smorz. Smorzando
Sos., Sost. Sostenuto
Sp. Spitze
S. P. Senza pedale
Spir. Spirituoso
S. S M or S, Sord. Senza sordini
S. T. Senza tempo
TUT CAA TVT
Stacc,, Staccato.
C. 8va f C^ ottava
M. oee IVL.
Maest . Maestoso
St. D., or St. Diap. Stopped
Conespr. Con espressione
Coot. Contano
Cor. Cornet or Corno
Co. So. Come sopra
CP. Colla parte
Magg. Maggiore
Man. Manual
Man, 1+2. Couple Ch. to Gt.
Mane. Mancando
Marc. Marcato
M. D. Mano destra, or main
diapason
Stent. Stentando
Str. Streichinstrumente
String. Stringendo
Sw. Swell-organ
Sym. Symphony
C. S, Colla sinistra
C. S., or Co. So. Come sopra
droite
Men. Meno
Mez. Mezzo
T. SeeT.
T. C^ Tre corde
O*. Concerto
C. voc. Colla voce
mf Mezzo forte
mfz Mezzo forzando
M. G. Main gauche
Temp. Tempo
Temjpo I. Tempo primo
Ten. Tenuto
D. SeeD.
Dal S, Dal segno
D. C. Da capo
Dec. Decani
Decresc. Decrescendo
M.M. Maelzel's metronome
Mod., or Modt. Moderate
Mor. Morendo
mp Mezzo piano
M.S.^ Manuscript, or Mano
Timb. Timbales
!J> P '[ Timpani
T. P. Tempo primo
Tr. Trillo, Trumpet
DeKc. Delicatamente
Dest. Destra
sinistra
Mus. B., or Mus. Bac. Musicae
Tratt. Trattenuto
Trem. Tremolando, Tremulant
Diap. Diapason(s)
Dim. By diminution, or
baccalaureus
Mus. D., or Mus. Doc. Musics
Tromb. Trombe, Tromboni
Tromp. Trompete
Diminuendo
doctor
T. S. Tasto solo
Div, Divisi
M. V. Mezza voce
Dd. Dolce m
TT C TT A
Dolcis. Dokissimo
Dopp. Ped. Doppio pedale
D.S. Dal segno
Ob. Oboe
Obbl. Obbligato
Oberst. Oberstimme
Unis. Unisono
Oberw., or Obw. Oberwerk
V. See V.
Energ. Energicamente
Espr,, or Espress. Espressivo
Exp., or Expr. Orgue expres-
Oh. Ped. Ohae Pedal
0. M. Obermanual
Op. Opus
Opp. Oppure
Va, Viola
Var. Variation
Vc., Velio., Vllo. Violoncello
Viol., VI., Vno. Violino
sn \fr}
Orsr. Orcan
Viv. Vivace
F. See P.
Ott,, Ova., or 8va Ottava,
O.W. Oberwerk
V. S. Volti subito
Vv.,Vni. Violini
X or for. Forte
Fag. Fagotto
Falset, Falsetto t
P. See P.
Abbreviations by
JfL FUtuto
Ped, Pedal
Perd. Perdendosi
Numerals.
Flag. Flageolet
&f piu forte
i. or I. Prima volta
V FtiH rwwan
or . " r Pianoforte
2. or II. Seconda volta
jj* Kite piano
JPz* or Foiz. Forzando
.rite, j
Piang. Piangendo
Pianiss. Pianissimo
Pizz, Pizzicato
Q) etc. See Harmonium-
music
Man. i. (2.) Great (Choir-)or-
gan
ft See G.
*m$'\ fP) fPf* ffPP Pianis-
* 1 Q n TP'iplf
simo
Piin. Principal
3- [ IW " IV\) 1 Triple
timej t/ c/ 1 time
Ccaz, Grazioso
* Great organ
Haaptw, Hauptwerk
Haut Hautboy
H.C. Haute-contre
HIzU^orHzbl, Holzblaser
Raddol, Raddolcendo
Rail. Rallentando
Recit. Recitative
rf^rf^rinf. Rinforzando
R. H. Rigtxt hand t or rechte
Hand
Rip. Ripieno
Ritard. Ritardando
Rh., Riten. RUenuto
4tette. Quartette
^tette. Quintette
Also compare art. Numerals.
For single figures over groups
of notes, compare (a) Couplet,
(3) Triplet, (4) Quadruplet,
(5) Quintuplet, (6) Sextuplet,
(?) Septuplet. (8) Octuplet, (9)
Nonuplet, (io) Decuplet, etc,
ABBREVIATIONS.
2. Abbreviations in manuscript or printed music by means of conventional signs.
64 8
(A) Of rests : \^m**\~^ I haJ I cgjl etc * (compare Rest).
(B) Of notes:
(a) Of single notes.
(Triplets.)
nj-k'
f 1
^_
'
1 "" 1
f r r r
W
6
6
w L-.LT
,J LJ U^
1 | ' |, , 1
r.T- r.
(b) Of doubled notes (see Tremolo), [Note to (b). When the abbreviation
consists of two consecutive notes, the sum of the notes in the solution is equal
to only one of them, unless specially marked.]
[pianoforte]
[violin]
4 ABC, MUSIKALISCHES-ABGEBROCHENE KADENZ.
(c) Of figures and phrases,
or
z/^ [or segue]
m m
simile
(Also compare Arpeggio, Bis,
A B C, masikalisches (Ger., "musi,
A ^1 ** Al P h *&fa*ltation.
' J " ~ tj to use, in singing exer-
ir-names of the notes.
t(Gr.) Evening bell, cur-
7ifl/, evening song.
A^catenerlich (Ger., " Adventurous. 1 ')
Grange, singular, uncoath ; an epithet
sometimes applied to music having no
r, Simile, Ter, Tremolo.)
settled or recognized form, especially
to that of the neo-German school.
Ab'fallen (Ger.) To deteriorate ; said
of any part of the compass of an instr.
or voice showing a falling-off, in quality
or volume of tone, as compared with
other parts.
Kadenz' (Ger.) See
ABGELEITET ACCENT.
5
Ab'geleitet (Ger.) Derived, derivative.
Ab'gesang (Ger.) See Strophe.
Ab'gestossen(Ger.) Detached, staccato.
Ab'gleiten (Ger.) To slip or slide any
finger, on the keyboard, from a black
digital to the next white one.
Ab'hub, abub. Hebrew wind-instr. re-
sembling the cornet.
Ab ini'tio (Lat,) Same as Da capo.
Ab'kiirzung (Ger.) Abbreviation.
Ab'leiten (Ger.) To derive from.
Ab'losen (Ger.) To change fingers qui-
etly on a digital -of the pfte. or organ.
Ab'nehmen, Ab'nehmung (Ger.) Dimi-
nuendo.
Abre"g6s (Fr.) Trackers.
Ab'reichen (Ger ) In violin-playing, to
take a tone by extending the little fin-
ger (see Extension), or by drawing back
the forefinger.
Ab'reissung (Ger.) See Abruptio.
Abrup'tio (Lat. " a breaking-off.") The
sudden stopping of a melody before
reaching the actual close, it being con-
tinued after a pause.
Ab'satz (Ger,) i, A thematically or
rhythmically 'well-defined division of a
piece or movement. 2. A melodic
phrase.
Ab'schwellen (Ger.) Decrescendo.
Ab'setzen (Ger., "to lift from".) To
Strike two digitals in succession with the
same finger, to lift ; e.g. (fl) p-"r
Absolute Music. In contradistinction
to " program-music," which is supposed
or intended to express (depict, portray)
something tangible, absolute music
subsists in and for itself, without being
in any way derived from concrete con-
ditions or objects. Program-music
seeks its inspiration in poetry, in art,
in living realities ; absolute music is
itself the inspiration, awakening emo-
tion through emotion without the in-
terposition of or definite interpretation
by the intellect, infecting and influenc-
ing the soul directly.. .Absolute Pitch,
see Pitch.
Ab'stammen (Ger.) To be derived from.
Ab'stand (Ger.) See Tonabstand.
Ab'stimmen (Ger.) i. To tune. 2. To
lower the pitch (of instr.s).. .Ab'siim*
mtnd, Ab'stimmig, discordant, dissonant
Ab'stossen (Ger.) To play staccato, to
detach. . .Ab'stosszeichen, staccato-mark.
Abstrak'ten (Ger.) Trackers.
Ab'stufung (Ger. , ' ' graduation. ") The
shading of a passage or piece, either
emotionally or dynamically.
Abun'dans (Lat.) Superfluous.
Ab'wechseln (Ger.) To alternate ; mit
ab' wechselnden Manua'len, with alter-
nating manuals.
Ab'weichtmg (Ger.) A variant ; a differ-
ent reading or notation ; specifically,
the measure or measures marked secunda.
wlta in a repeat.
Ab'ziehen (Gen) i. See Abgleiten.2.
To unstring (in the sense of taking off
worn-out strings) a violin, harp, etc.
Ab'zug (Ger.) i. See Abgleiten.z. The
lifting of the fingers in playing wind-
instr.s, or of the bow from the strings.
Acathis'tus (Gk.) In 1 the Gk, Church, a
long -canon or hymn in praise of the
Virgin, sung by all standing.
Accarezze'vole ) (It.) Caressful-
Accarezzevolraen'te ) ly, caressingly,
coaxingly.
Accelerando (It.) " Accelerating, "
gradually growing lz$\vc... Acceleratio^
accelerated, livelier.
Accent. (Ger. Accent*, Beto'nung ; Fr.
accent; It. accen'to.) I. The natural
stress or emphasis regularly recurring ,
on certain tones in each measure, called
the grammatical, metrical, or regular
accent ; e.g. that on the first beat in
every species of time
HBE
r
nr r
(primary accent), and on the third beat
in triple or compound duple time
(sub-accent). 2, The monotony of the
regular accent is varied by the rhyth
mical accent, which brings out mpr*
prominently the broader musical dm
sions of a composition by special cm
phasis at the entrance or culminating
points of motives, themes, phrases,
passages, sections, etc.; the rhythmical
a. is nearly synonymous with the
pathetic or poetic a., as an aid in inter-
preting the meaning and making plain
the construction of a work. 3. An ir-
ACCENTOR ACCORD.
regular stress laid upon any tone o
beat at the composer's pleasure, is th
rhetorical or esthetic a. , indicated eithe
by a special sign (sfz.fz, >, A), o
by an interruption of the natura
rhythmical flow (syncopation), whereb
the natural a. is thrown back to a
otherwise less accented or non-accente
beat 4. See Accentus. 5. An obso
lete harpsichord-grace resembling th
appoggiatrura ;
: ig. CrlCF4t^P
Accen'tor. The leading singer in a choi
or vocal performance.
Accentuie'ren (Ger.) To accent, , .
centoae/ier Durch'gang, a passing-note
or -chord on a strong beat*
Accen'tus (Lat) In the R. C. Church
that part of the service which is chanted
-or intoned at the altar by the officiating
priest and his assistants ; opp. to Cm-
centus* the part taken by the choir,
Accen'tus ecclesiastic! (Lat.) The
musical inflections observed in intoning
the gospels, epistles, etc., correspond-
ing to a certain extent with the punctua-
tion. There are 7 accents : (r) accentus
immutaf tilis, the voice neither rising
nor falling ; (2) a, me f dius y falling a
tf^ J (3) & gra'vis* falling a fourth ;
(4) a. acvflus, first falling a third, then
rising to the reciting-note ; (5) a. mode-
reftus, first rising a second, then fall-
ing to the reciting-note ; (6) a. inter-
rtigati'vusr at a question, first falling a
second, then rising to the reciting-note ;
(7) #. fwjflis, falling at the end of a
sentence by a fourth, by a diatonic pas-
sage through the intervening tones.
Accessis'ten. (Ger.) Unpaid choir-
singers, supernumeraries.
Accessory note. In a trill, the higher
auxiliary.
Awacca'to,-a{It.) Vehemently.
Acciaccatur' (Ger.) In organ-playing,
the doubling by lie left hand of the f
chord on the dominant, its resolution
to the dominant chord being effected
by the right nand alone.
Acciaccata'ra (It) x, (Ger. Zusam'-
wnschkg; Vr.fincJ ttwffQ A grace ,
OB keyboard instns, the semitone below
a melody-note or chord-note being
struck with the latter, but instantly
released :
written : played :
2. Same as short appoggiatura. 3 (in
Ger. usage). Same as Acciaccatur.
Accident (Fr.) Accidental.
Accidental. (Ger. zu'falliges Verse'-
tzungszeichen ; Fr. accident, or sight
accidents I; It. acdden'te.) A chro-
matic sign not found in the signature;
set before a note in the midst of a com-
position. (See Chromatic Signs.)
Accolade (Fr.) Brace.
Accompaniment (Ger. Beglei'tung; Fr.
accompagnement ; It, accompagna*
men'to.) The accessory part or parts
attending the voices or instr.s bearing
the principal part or parts in a musical
composition. Its intention may be to
enhance the general effect, or to steady
the soloists either as regards rhythm or
pitch. Either one or more instr.s, or a
vocal chorus, may carry out an ace. An
ace. is ad li'hitum when the piece can
be performed without it, and obbliga'io
when of vital importance to the latter.
Acc m of the scale, the harmonies as-
signed to the successive tones of the
ascending or descending diatonic scale.
Additional accompaniment s y parts
added to a composition by some other
than its original author.
Accompanist. (Ger. Beglei'ter; Fr. x
accompagnatiur m., *trice f.; It. ac+
compagnato'rem.,-tri'ce f.) One who
executes an accomp.
Accompany. (Ger. begin' ten ; Fr. ac-
compagner ; It. accompagna're?) To
perform an accompaniment.
Accoppia'to (It., " coupled.") Tied. * .
Accoppiamen'to, pedale di, see Pedal,
sustaining.
.ccord (Fr.) I. A chord. A. a Vou-vert,
chord produced by sweeping only open
strings,.. A fondamental, or nature!,
fundamental chord... A. par fait (or
triade karmonique\ common chord,
triad... A, plaqu/, a solid chord (not
ar p e ggio f d). . .A. renverse*, t inverted 1 ,
chord. 2, Tune (i.e. the state of being/
in tune). . .Etre d* accord, to be in tune.
3. Accords (pi., poetical). Strains,
^harmonies. 4. Accordatura,
ACCORDABLE-ACOUSTICS.
Accordable (Fr.) Tunable, that may be
tuned.
Accordamen'to (It.) Accordance ; con-
sonance.
Accord'ance. An English equivalent
for Accor datura ; used in GROVE, vol.
IV, p. 187^, l.Q-io, and foot-note.
Accordance (It.) Accordant, in tune,
.tuned together ; applied also to comic
scenes in which the tuning of an instr.
or instr.s is imitated by the orchestra.
Accordant (Fr.) Consonant.
Accorda're (It.) To tune, tune to-
gether.
Accordato'io (It.) Tuning-key, tuning-
hammer.
Accordatu'ra (It.; see Accordance.}
The series of tones according to which
a stringed instr. is tuned ; thus^v/ 1 -^ 1 -
is the a. of the violin.
Accorder (Fr.) To tune. . . S ' accorder,
to tune together, get the pitch (as an
orchestra).
Accprdeur (Fr.) i. Tuner. 2. The
monochord. 3. A small instr. contain-
. ing 12 steel tuning-forks set on a sound-
board and yielding the 12 tones of the
equally tempered scale.
Accor'dion. (Ger. Accor 4 'deon> Akkor*-
' dion, Zieh'harmmika; Fr. accordton;
It. accoSdeon.) A free-reed instr. in-
vented by Damian, of Vienna, in 1829.
The elongated body serves as abellows,
which can be drawn out or pushed to-
gether at will ; the bellows is closed at
either end by a keyboard, that for the
right hand having a diatonic (or incom-
plete chromatic) scale, while that for
the left has 2 or more keys for harmonic
bass tones. There are two sets of
reeds, one sounding when the bellows
is opening, by suction, the other when
it is closing, (Compare Concertina.)
Accor'do (It.) I. A chord... A* con'-
sono (di$'sono\ a consonant (dissonant)
chord, 2. An instr. formerly used in
Italy, resembling the bass viol, having
from 12 to 15 strings, and played with
a bow in such a way that several strings
were caused to vibrate at once ; em-
ployed where powerful harmonies were
required. (Also called the modem lyre,
and Barbary lyre?)
Aqcordoir (Fr.) Tuning-hammer, tun-
ing-key ; (org.) tuning-cone or -horn.
Accoupler (Fr.) To couple, . . Tirant
&., coupler. . .Accouplez> " couple, "
(i.e. " draw coupler^).
Accrescen'do (It.) Same as Crescendo*
Accrescimen'to (It.) Augmentation (of
' a fugal theme). . . Pun' to d > cccr. t ^Q\.
of prolongation (J.).
Accresciu'to (It.) Augmented,
Aceta'bulum. Latin name for an an-
cient Gk. instr., of percussion. The
acetabula were earthen or metallic ves-
sels struck with sticks, like a carillon,
or clashed together, like cymbals.
Acht (Ger.) Eight. . .Achtf&ssig, 8-foot
...Achtfstimmig, in or for 8 parts,-
8-part
Ach'tel, Ach'telnote (Ger.) An eighth-
note. , .Ach'tetyause^ eighth-rest.
Ac'ocotl. A wind- instr. of the Mexican
aborigines, consisting of a thin tube 8
or 10 feet long made of the dried stalk
of the plant acocotl, and played by in-
haling the air through it. (Also called
Ckrin.)
Acoustic color. The timbre (character
or quality) "of a mus. tone.
Acoustics. (Ger. Aku'stik ; Fr. acaus-
tique ; It. acu'stica.) The science of
the properties and relations of sounds.
i. Musical acoustics, the science
of mus. tones, distinguishes between
tones and noises. A tone of sustained
and equal pitch is generated by regular
and constant vibrations of the, air, these
being generated by similar vibrations
in the tone-producing body ; whereas a
noise is caused by irregular aftd fluctu-
ating vibrations. Briefly, "the sen-
sation caused by a tone is produced by
rapid periodic movements ; that caused
by a noise, by imperiodic movements "
(HELMHOLTZ). But a sonorous or tone-
producing body vibrates not only as a
whole, but in its various fractional parts
as well. Take a pfte.-string, for in-
stance ; when struck by the hammer it
vibrates, not simply-as a whole in its
entire length, but each half, each , i, J
etc., of the string vibrates by itself, as
it were (comp. Node), and produces a
tone of a pitch corresponding to its own
length ; the ^string thus, produces, be-
sides the fundamental tone or generator,
C, its octave c ft of string), its twelfth g
J), fifteenth ^ (i), seventeenth $ (J5,
nineteenth^- 1 (J),-etc. The points of rest
in the string (or other tone-producing
body) where such vibrating portions
ACOUSTICS,
meet, are called nodes, or nodal points;
the tones produced by the vibrating di-
visions are called harmonics, or over-
tones; and the entire series, including
the generator, are called partial tones,
being considered parts of the composite
tone (clang) named after the generator.
The series of partial tones may be
given in notes as follows, numbered
consecutively from C upward
C: I-
4 *> 5 & 7 8 9
Ill (= major triad).
(Notes marked * are only approximately correct.)
10 ii 12 13 14 15 16
The intensity of the harmonics ordin-
arily decreases rapidly as their pitch
becomes higher.
2. The harmonics are important in
many ways, (a) Their presence in
varying degrees of intensity produces
the timbre peculiar to the several instr.s;
thus the tone of the stopped diapason
(organ), in which they are weak, is soft
and "hollow"; the tone of an old
violin, in which the lower harmonics are
well-developed and evenly balanced, is
mellow, round, and sonorous; that of the
trumpet, in which the high dissonant
harmonics also make themselves felt,
is ringing, "metallic," and brilliant.
(Compare Scale.). (b) On bowed
instr.s they yield an additional and
highly characteristic register (see Har-
monic 2). {*) On wind-instr.s, from
which they are obtained by varying the
intensity and direction of the air-cur-
rent, they are indispensable for extend-
ing and completing the natural scale ;
thus the bugle and French horn, which
yield but one fundamental tone (without
keys or valves), depend entirely on the
harmonics for the production of their
scale ; the flute depends upon overblow-
ing, which produces the harmonics of
Its tube, for its upper register; etc.,
etc. (d) Musical theory owes highly
important discoveries to the investiga-
tion of the harmonics, of which discov-
eries practical music in turn reaps the
benefit (improved construction of many
instr.s). (Comp. Scale.)
3. By sounding two tones together,
various phenomena are produced, (a) 2
tones of nearly the same pitch produce
beats. E. g, if the one makes 442 vibra-
tions per second and the other 440, the
difference, 2, represents the number of
beats per second, a beat being the pul-
sation or throb caused by the coinci-
dence of, arid consequent momentary
increase of the intensity in, the sound-
waves of the two tones ; this coinci-
dence recurring regularly at every 22ist
vibration of the first tone and 220th
vibration of the second. (b) As soon
as the number of beats per second
amounts to about 32, the ear no longer
distinguishes them as separate throbs,
and they unite to form a very low tone
(32 v. = Ci), called a combinational,
summational) or resultant tone; in fact,
the various combinations of interfering
vibrations produce, in their different
combination, a series of harmonics, the
lowest and chief among which is always
the generator of the series to which the
two original tones belong. Thus, accord-
ing to Tartini, the interval ^ produces
the following series of resultant tones ;
^
=^
1 etc.
(<:) In the series of partials given in
i, those belonging to the major scale
of the generator C are written as half-
notes ; the consonance of the major
triad is derivable from and based upon
the principal partial tones. In like
manner, the consonance of the minor
triad is derived from a reverse series of
lower partials, the existence of which
is proved by the phenomena of sympa-
thetic vibration and of the resultant
tones. In this series of lower partials
(undertones),
ACT JEOLIAN ATTACHMENT.
the numerals also represent the relative
length of the strings necessary to yield
the several tones ; while in the series of
higher partials (overtones) the string-
lengths are represented by the simple
fractions formed by the numerals. (d)
From the relative number and import-
ance (intensity) of the first 6 partials in
either series, it follows, that the only
consonant chords are the major and
minor triads^ and that the only conso-
nant intervals are such as are derived
from these chords or their inversions ;
the addition of any further tone, either
found in or foreign to the series of par-
tials, produces a dissonance.
Act. (Gen Akt, Aufzug; Fr. acte;
It. at' to.) One of the principal divi-
sions of a dramatical performance.
Acte de cadence (Fr.) A progression
in one of the parts, particularly the
bass, which forces the others to join
either in forming a cadence, or in avoid-
ing one apparently imminent.
Actin'ophone. An apparatus for the
production of sound by actinic rays.
Action. (Ger. Mecha'nik; Fr.
nique; It. mecca'nica.) In keyboard
instr.s, the mechanism directly actuated
by the player's finger, or set in motion
by the organ-pedals. In the harp, the
fiction (pedals) does not directly produce
the sound, but effects a change of key
by shortening the strings, whereby chro-
matic alterations of a semitone or a
whole tone result. (See Pianoforte,
Organ.)
Act-tune. Music performed between
the acts of a drama ; an entr'acte.
Acu'ta (Lat., " sharp, shrill.") In the
organ, a mixture-stop having 3 to 5
ranks of from if to I foot, usually in-
cluding a Third ; its compass is higher
than that of the ordinary Mixture.
Acu'tae elates (Lat.; also acuta loca>
acute voces!) Literally, acute keys
(pitch, voices) ; the tones from a to g *
inclusive ; so termed by Guidod'Arezzo.
Acute* (Ger. scharf^ hock; Fr. aigu;
It, actfto, ) High in pitch, sharp, shrill ;
said of tones ; opp. to grave.
Acutez'za (It.) Acuteness; sharpness
(of pitch).
Acu'tus (Lat.) See Accentus eccl, 4.
Adagiet'to (It) i. A movement slightly
faster than adagio. 2. A short Adagio.
Ada'gio (It, " slow, leisurely.") A slow
Adaptation. Same as Arrangement.
Adagio (It.) Same as Adagio.
Added sixth. See Sixth.
Addita'to (It) Provided with a finger-
ing, fingered.
Addition. Obsolete term for the dot
*
movement (comp. Tempo-marks)*** A.
assa'i, A. mol'to^ very slow... A ntm
tan'to, n0nmoIfo,KQt too slow. . .Adagio
adagio t very slow. ..Jf
Additional accompaniments.
. ..Ad-
ditional keys, those
above /*
Addolora'to (It.) Plaintive ; in a style
expressive of grief.
Adi'aphon. See Ga'belklavier.
Adi'aphonon. A keyboard Jnstr. in-
vented by Schuster of Vienna in 1820.
Adira'to (It.) Angry, wrathful.
Ad'junct. Closely related, as one key 01
scale to another. . .A. note^ an auxiliary
note, unaccented, and unessential to
the harmony.
Ad'juvant. The cantor's assistant, as
sistant teacher.
A'dler (Ger.) An obsolete organ-stop.
Ad libitum (Lat., "at pleasure," "at
will") A direction signifying (i ) that the
performer is free in choice of expression
or tempo ; (2) that any vocal or instru-
mental part so marked is not absolutely
essential to a complete performance of
a piece. . . Caden'za ad lib. thus means,
that a given cadenza may be performed'
or not, or another substituted, at the
executant's discretion.
Ad lon'gam (Lat, " with the long. 1 *) A
term applied to certain ancient church-
music written entirely in equal notes,
generally the longest in use.
Adornamen'to (It.) A grace.
Adquis'ta or adsum'ta (vox) (Lat,
M the added tone.") The lowest tone
of the scale, the Proshmbvnom'enos.
See Harmonium.
-dEolharmon'ica. See Seraphine.
^Eolian attachment. An attachment
to a pfte. for directing a current of air
against the strings, reinforcing thejr vi-
bration and thus prolonging and 'sus-
taining the tones,.. Molian harp or
lyre. (Ger. A'okkarfa Wind'-. Wtt*
10
JEOLINA-AGGIUSTATAMENTE.
- or Gd'sterharfe; Fr. harps
A stringed Instr sounded by the wind
It consists of a narrow, oblong wooden
resonance-box, across the low bridges
at either end of which are stretched gu
strings in any desired number and o
different thickness and tension, but al
producing the same fundamental tone
When adjusted in an appropriate aper
tare, like a window through , which the
air passes freely, the latter causes the
strings to vibrate and to produce, if the
tension be properly adjusted (rather
slack than otherwise), full chords com
posed of the harmonics of the funda-
mental tone common to all the strings ;
and rising, according to the force of the
wind, from pure, dreamy, deliciously
vague harmonies to a plaintive wail or
a thrilling forte...&olian modt^ see
Grrtek music. , .Mdian piano, see
JEoiina, I. A small instr. consisting of a
graduated series of free reeds set in a
petal plate and blown by the mouth ;
invented by the Messrs. Wheatstone in
1829. As the first practical attempt to
tise free reeds in this way, it maybe re-
garded as the precursor of the accordion
and melodion. The Germans, how-
ever, claim the invention for Eschen-
bach, of Hamburg, about 1800. 2. An
organ-stop constructed on the same
principle as the above, without (or with
very short) pipe-bodies, and of very
soft tone.
. A keyboard instr. em-
bodying the principle of the JEolina,
- and the direct precursor of the harmo-
nium. (Also JEolodion, KlavdoK'ne.
etc.). ,.A further modification was the
Mokmel</duon> invented ty Prof.
Hoffmann of Warsaw about 1825, ih
which short brass tabes were a4ded to
the reeds.
^Eolopaa'talon. An ^Eolomelodicon
combined with a pfte., constructed
about 1830 by Dlugosz of Warsaw.
Aeqnal' (Gen) Formerly, an independ-,
cnt 8-foot prgan-stop (Aequal 4 'stimme) \
still used as prefix to names of organ-
' stops, indicating that they belong to
the standard 8-foot registers, as Aequa?-
prinzipal^ etc.
jEquiso'nus (Lat. ; Ger. dquison') Uni-
son (of either primes or octaves).
JEquiva'gans (Lat.) Denotes simultau
eous syncopation, or "deviation from
the natural order " of the measure, in
all the parts.
AEVIA. A frequent abbr. of Allelui&
in MS. music of the middle ages.
Affable (It.) Sweetly and gracefully,
gently.
Affanna'to (It.) Uneasily, distressfully.
Affannosamen'te (It.) Anxiously, rest-
lessly , , .Affanno'so^ anxious, restless.
Affet'to (It.) Emotion, passion, tender-
ness. ..Con #., Qiaffettuosamen'tei ajfet*
tuo'so, with emotion or feeling, very
expressively. (Compare Innig.)
Affezic/ne, con (It.) In a style express-
ive of tender emotion.
Affilar' (or filarO il tuc/no (It.) In the
Italian school of singing, to produce a
long-sustained and uniform tone ; near-
ly the same as metier la voce, messa di
wee, except that with these a crescendo
or decrtscendo is usually to be combined.
Affinitd (Fr.) Affinity, relationship.
Afflifto (It.) Melancholy, sad... 4^
zio'ne, con, sorrowfully, mournfully.
Affrettan'do (It.) Hurrying (stringendd)
. . ,AJfretto'$o> hurried (fi& mosso).
After-beat. (From Ger. Nacttschlag;
Fr. note de contpldment^ terminaison.)
An ending added to a trill, comprising 2
notes, the lower auxiliary anc) the main
note ; compare Trill.
After-note. I. Occasional for unae*
cented appoggiaiura. 2. The unac-
cented note of a pair.
After-striking, (Ger. Nach 'sMagenJ
The reverse of anticipation by the
bass; e.g.
(Compare Anticipation)
(Ger., from Lat. agen'da.) Bre-
viary, more especially of the Ger. Re-
formed Church, containing in regular
order the formularies, prayers, respons-
es, collects, etc., employed in religious
exercises.
Age Vole (It.) Easy, light.. .AgevokJ.
za, con, easily, lightly.
Agiustataraen'te (It.) Strictly in time
AGGRAVER LA FUGUE-ALLEGRETTO,
xi
Aggraver la fugue (Fn) To aug-
ment the theme of & fugue.
Agiatamen'te (It) Easily, indolently
Agilitt' (It.}) Agility, sprightliness, vi-
Agilit^ (Fr.)j vacity; con a., in a
light and lively style.
Agilmen'te (It.) Nimbly, lightly, vi-
vaciously.
Agitamen'to (It.) Agitation.;. Agita-
tamen'te, conagitazio'ne, excitedly, agi-
tatedly. . .Agita'to, agitated ; a. con pas-
sio'ne, passionately agitated... Agita-
zio'ne, agitation.
Ag'nus De'i (Lat. t "Lamb of God.")
Closing movement of flie mus. Mass.
Ago'ge (Gk.) The order, with refer-
ence to pitch, in which the tones of a
melody succeed each other.. .A. rhytkf-
* mica, their succession with reference to
accent and rhythm ; tempo.
Ago'gik (Ger.) Theory of the tempo
rubato...Ago'gisch, relating to such de-
viations from the teEB$o...Ag*fgi$cher
Accent* (RIEMANN), a sign(A)over a
note indicating the slight prolongation
of its value required, in certain rhythms,
to mark the culminating point of the
measure-motive.
Agraffe'. Inthepfte,, a small metallic
support of the string, between bridge
and pin, serving to check vibration m
that part
Agr&nens (Fr., pi.) Harpsichord-
graces.
Aigu, ai^uS (Fr.) Acute ; also used
substantively, e. g* passer de Faigu au
grave.
Ajoute,-e (Fr.) Added. (See Ligne, Six.
te.\ . . Ajoutez, 4 ' add " (organ-mus.) ;
abbr. ajout.
Ajuster (Fr.) See Accorder.
Akkord' (Ger,) i. A chord... Akkonf*
passage, arpeggio. . . A kkord' 'zither, the
autoharp. 2. A set of several instns
of one family, but different in size,
as made from the 15th to the i8th
century (cornp^ Engl. chest or consort
of viols). (Also Stimm'werk)
Akkor'dieren (Ger.) r. To tune an
jnstr.,with reference to the harmony of
its principal chords. 2. To- get the
pitch (said of the orchestra),
AkroamVtisch (Ger.) Pleasing to the
ear ; said of music depending more up.
on outward effect than on depth.
Akt (Ger.) Act.
Aku'stik (Ger.) Acoustics; akufstiseA,
acoustic.
Al (It.) To the, up to the, at the, ia
the, etc.../// al (or alia) fine,
pianissimo to the end
Albertischer Bass (Ger.) Albert!
bass* (See JBass.)
Alcu'no (It.) Some, certain.
Alexandre organ. See American o#*
Air. (Gex.MebdiSt Wei'se, Sing'tveise ;
Fr. air, mtfodie; It. atria?) I. A
rhythmical melodious series of single
tones in a metrical (symmetrical) group-
ing easily recognizable by the ear ; a
tune or melody. 2. The highest part
in a harmonized composition. . . Nation-
al air, a melody become thoroughly
popular through long usage and pecu-
liar fitness, recognized as a national
emblem, and performed at public festi-
vals, etc.
Air (Fr.) Air, melody, tune ; also song,
as Airs a boire, drinking-songs. . .Also,
instrumental melody, as air de yiolon,
deflate ; air de ballet ', de danse, etc. . .
Also, aria ; air d^tache 1 , any single aria
taken from an opera.
A1s(Ger.) A#. ^'IJW.AX.
Al'iquot (Lat.) Forming an exact mea-
sure of something ; a- factor, or even
&\<xx...A'liquotflilgel (Ger.) A
grand piano, invented by Julius Bltith-
ner of Leipzig, the tone of which is
reinforced and enriched by an addition-
al sympathetic string stretched over,
and tuned in the higher octave to, each
unison. These added strings are not
struck by the hammers, and are called
A' liquotsaiten. ..A'liquottheorie, theory
of overtones produced by the vibration
of strings or of wind-instr.s. Such
overtones or harmonics are called A'li*
quottone.
All', al'la (It.) To the, at the, in the;
in the style of.
Allabre've (Ger.) See A Ha breve, under
Breve. . .Allabrefvetakt, alia breve tim.
Allargan'do (It.) Same as Largando.
Allegramen'te (It.) Nimbly, lightly,
vivaciously.
Allegretti'no (It.) A short Allegretto ;
also, a movement slower than alle-
gretto.
Allegretto (It. f abbr. all* .) Dimin.
12
ALLEGREZZA-ALPHABETICAL NOTATION.
of allegro; moderately fast, lively
faster than andante^ slower than allegro
Ailegrez'za (It) Liveliness, vivacity.
Altegris'sirao (It,) Superl. of allegro
extremely rapid, as quick as possible
AHe'gro (It., abbr. all*.) Lively , brisk
rapid. Used substantively to designat
any rapid movement slower than pre
sto...^. tfjjfl'i, a, di moio+ very fas
(usually faster than the foregoing move
meut)...^. di bravu'ra, a technically
difficult piece or passage to be executec
swiftly and boldly, . .A. giu'sto, amove
ment the rapidity of which is conformec
to the subject.. . A. risolu'to^ rapidly anc
energetically; etc., etc.
AJlein' (Ger.) Alone.
Alleluia (Hebr.) Lit. "Praise ye the
Lord,* 1 an exclamation closing various
Psalms, or introduced in their midst
Taken, by the early Christian Church
from the ancient Hebrew ritual, it de-
veloped into the long jubilations (see
Jubilatio] of the early middle ages (on
the vowels AEVIA), to the melodies of
which were set, after the adoption of
the cantus phnu^ special words. (Also,
Allemande (Fr.; It. alternant da.) I.
A Ger. dance in 3-4 time, like the
L&ndltr.z. A lively Ger. dance in
2-4 time, 3. A movement in the
Suite, either the first or immediately
following the prelude, in 4-4 time and
moderate tempo (andantino), commenc-
ing with a short note in the auftakt.
4. A figure in dancing.
Allentamen'to (It.) Same as Rallen-
tando* (Also allentan'do, allenta'to.)
ATte Sai'ten (Ger.) Same as Tutu
corde*
AU'gemeiner Bass (Ger.) Thorough-
, bass. (Now General' bass?)
Altaahlich (Ger.) Gradually, by de-
grees. (Also allm&hfKjr, allma'lig.)
Allonger 1'archet (Fr.) To prolong
(the stroke of) the bow.
ASo'ra(It.) Then.
Ahaain', Almaad', Almayne'. Same
as Allemande.
ATpetthorn, Alpliorn (Ger.) The
alp-horn, an instr. made of strips or
staves of wood firmly bound together
to form a conical tube from 3 to 8 feet
long, the bell slightly curved upward,
and with a cupped mouthpiece of hard
wood. The scale of the tube is nar-
row, and the tones produced are its
natural harmonics. The alpine herds-
men use this horn to play the Ranz des
vackes and other simple melodies.
Alphabetical notation. Any method
of writing music which uses the letters
of the alphabet, The earliest known
method was the ancient Greek, which
employed two parallel series of letters,
one for vocal and the other for instru-
mental music, the letters being various-
ly inverted, accented, or mutilated to
indicate the several octaves and chro-
matic tones. This method was retained,
at least by theorists, down to the roth
century (see Neumes\ when the begin-
nings of a new method appeared, em-
ploying the first 7 letters of the Latin
alphabet A B C D E F G for the
major diatonic scale now represented
by C D E F G A B, and repeating
the same series for the higher octaves.
These Latin letters were at first used
for instrumental notation (psaltery or
rotta, later the organ). Their significa-
tion was soon altered, however, to con-
form to that of the earlier Greek sys-
tem (minor), the series then agreeing
with our present one ; the' Greek r
(Gamma, G) was added as the lowest
tone, and the octaves above I 1 were
written ABCDEFG abcdefg aabbccdd
"ffgg etc. (or ll l\ etc.) ; though
sometimes, instead of small letters, the
capitals ran on (HIKLMNOF), in
which latter system A was equivalent
to our modern C, as at first. Arbitrary
innovations led to great confusion in
the alphabetical notation, which was in
reality rendered superfluous, as a me-
thod of writing music, by Guido d'Arez-
zo's invention or systematization (about
1026) of line-notation (see Notation).
When letters were used, without staff-
lines, instead of neumes, they were
often written above the words in this
wise;
EE E E
>D C /D / F
//CD/
Qui tol - Us fee - ca - ta
i.e., in notes :
O-f
4
Qui tol - - Us pec - ca * ta
ALT-AMBROSIAN CHANT.
ascending or descending as the voice
was to rise or fall. Our present theo
retical division of the octave is firs
found fully developed in the works of
Praetorius (1619) ; side by side with
which the old method of writing music
(A-G, a-g etc.) still occurred, until the
various systems of tablature were given
up (comp. Tablaturt). Letters are no
longer used in practical mus. notation,
except by Tonic Sol-fa, in which, how*
ever, they represent no fixed pitch, as
formerly, but are mere abbreviations oJ
the movable solmisation-syllables. In
modern theory, letters are variously em-
ployed (comp. Pitchy absolute).
Alt (Ger.) Alto (voice or part). ..In
compound words, the alto instr. of any
family, as Atfgtige, Atfhorn, Alt?-
klarinttte, Alfoboe, AWviolc, etc.
(Engl.) Hence, the same employment
in English usage [alt-clarinet, alt-
horn].. .Notes "in alt" are those of
the next octave (//*) above /
_ ; notes in the octave above
: this are said to be " in altis-
simo",
Aitera're (It.) To alter, change.
Altera'tio (Lat.) See Notation, 3.
Alteration, i. Same as Alteratio.z.
Chromatic alteration of the pitch of a
note.
Altera'to (It.), Alter* (Fr.) Chromatic-
ally altered.
Alterez'za (It,) Pride, loftiness. Con
a.) in a lofty and dignified style.
Alternamen'te (It.) Alternatively...
Alternant do, alternating.
Alternative (It.) See Trio 2.
Alt-horn* (Fr. saxhorn alto; Gen Atf-
horn.) One of the Saxhorns.
Altieramen'te (It.) In a lofty and ma-
jestic style.
Alti natura'li (Lat.) Natural (male)
altos, or counter-tenors. (See Alto.)
Altis'simo (It.) Highest. (See/4#.)
Alti'sta (It.) An alto or contralto
singer.
Alfklausel (Ger.) The leading of the
alto part in a perfect close.
Alto. I. (Fr. haute-contre / Gen Alt,
Alfstimmcjlt. afto.) The deeper of
the two main divisions of women's or
boys' voices, the contralto ; (in Germany
a distinction is sometimes made be-
tween^// and Kon'traalt % the latter-
term being reserved for the lower alto
voice). Ordinary compass from g to
which, in voices of unusual
range, may be extended
down
may
to d
and up to
/*, or even higher. a. A high head-
voice in men (It afti natura'li) for-
merly cultivated for the performance
of church-music (in England for secu-
lar music as well, e. g, glees), but now
generally superseded by the female alto
or high tenor. 3. (Ger. Bra'tsche, Alf-
viok; Fr. alto> quinte^ basse de violon;
It. a?to> vio'ta.) The tenor violin, or
viola.
Al'to,-a (It.) High...0/fo'w alia, an
octave higher. ^Altavicfla^ tenor violin.
. .Atto basfso, an obsolete variety of
dulcimer, consisting of a square wooden
box set on legs and strung with gut. It
was generally employed to accompany
simple melodies played by the performer
on a flageolet held in his right hand, the
left striking the strings,
Alto-clet SeeC/*/.
Alt'posaune (Ger.) Alto trombone.
Al'tro,-a (It,) Other... Altra vol'ta,
"encore!"
Alt'schltissel (Ger.) Alto-clef.
AltMole (Ger.) Viola.
Alzamen'to (It.) A raising or lifting
(opp. to Abbassamento). Abbrcv. Alt.
Ama'Mleflt) Sweet, tender.
Amare'vole (It) Bitterly, mournfully.
(Sometimes written mistakenly for A mo*
riwle, lovingly.). . .Amaresfza, bitter-
ness, sadness ; con a., grievingly.
Amateur (Fr.) A "lover" of art, who,
while possessing an understanding for
and a certain knowledge of it, does not
pursue it as a profession.
Ambitus (Lat,) Compass.
Ambrpsian chant. The style of church-
music introduced by St Ambrose (d.
397) from the Eastern Church, and
established by him in the cathedral at
Milan, towards the end of the 4th cen-
tury. It was based on the 4 authentic
modes
de fgabe 1 d 1
and was thus essentially diatonic, al-
though embellished with occasional
chromatic graces; it was probably
rhythmical, in contrast to the later de-
AlffBROSIAN HVMN-ANESIS.
velopment of Plain Chant. Nothing
positive is known about these melodies
except that St. Ambrose introduced the
antiphonal songs and hallelujahs -of the
Eastern Church, and himself composed
numerous hymns, (Comp*
Arabrosian hymn (kym'nus Amlrosia'-
; nus). The "Tedeum laudamus,"oi
which St. Ambrose is the reputed
' Author. *
Ame(Fr.) Soundpost.
American organ* See Reed-organ.
Amo're (It) Love...6? #., with de-
votion, fondly, devotedly ; tenderjy. . .
Amore'vole, amore-vohien'te^ lovingly,
fondly, etc.. .Amorosamen'te, amorous-
ly, lovingly, fondly. . .Amoro'so, amor-
ous, loving.
A'morschall, A'morsklang (Ger.-) A
? * French horn with valves, 'invented by
, * Kdlbe'l, of St. Petersburg (1760); its
tone was lacking in purity, and the
valve-mechanism did not quite do away
v with * l stopping."
Am'pnibrach. A metrical foot of 3
" ' syllables if-' ^); opp. to amphim'acer.
Also amphibrafckys.
Am'phichord. See Lira barberina.
Amphim'acer. A metrical foot of 3
" * syllables { >> ) ; opp, to am'phibracJi.
[Also atnphimacrus^\
Ampho'ter (Ger.) Amphoteric ; said^of
. eft series of tones "conmioa to two"
registers of the same voice.
Amplitude of vibration. ^Vibration.
Amts'pfeiffer (Ger.) See Stadtpfeifer.
Amusement (Fr.) See Divertissement.
Anl(GerO On ; add (i.e. draw).
Anacru'sis (Gk. ; Ger. Anakru'sis [A uf-
takt\ \ Fr. anacrouse.) An up-beat
beginning a verse, containing- 1 or 2
unaccented syllables ; hence transferred
to musical rhythms, for which, in Eng-
lish usage, the term auftakt is often
met with.
-Analytical programs are an English
; invention; analyses of the mus, form
of compositions on the concert-pro-
gram, with quotations from the music,
ctate from 1845 (Ella, matinees of Mus.
rf Union), ' The most ambitious attempts
of &is kind are probably H, v. Wolzo-
.geu^ "Filkrtr* (Guides) "through"
Wagner's mus. dramas.
Aasetricalfootof ssylkbles,
the first 2 short, the last long (^ ^ *^);
the reverse of the DactyL
Anche (Fr.) Reed (of any instr.). . .A.
libre, free reed.. ./<? d'atiche, Teed-
stop.
An'che (It.) Also, too, likewise ; even,
An'cia(It.) Reed.
Anco'ra (It.) Again,' also, yet, still,
even. . .Ancor* pifrmos'sQ, still faster.
AnMacht (Ger.) Devotion. . .An'ddchtig,
or mit Andac'ht 9 devotional)y (It. de-
uo'tOi can devozio'ne).
Andamen^o (It.) i. Movement,, rate of
speed, 2. A passage, especially an
episode in a fugue. 3. Specifically, an
extended fugal theme, usually -consist-
ing of two distinct and contrasting
members. (See Soggetto.) ' -
Andante (It., lit. ", going, moving.")
A tempo-mark indicating, in modern
usage, , a moderately .. slow mpvement,
Between Adagio and 'Allegrettp ; often
mocljfied by qualifying words, as A.
maesto'sQ) A. sostenitfto, a stately and
tranquil movement; J. con. moty, A.
un poco allegretto, a comparatively ani-
mated movement'; A. cantafMle, a
smoothly flowing and mejodious move-
ment ; etc. In earlier usage often em-
ployed in its more literal sense, as 'A.
allegro, "moving rapidly ;"" me* no
andante ("less moving "), slower.
Andantemen^e (It.) Flowingly, unin-
terruptedly.
Andanti'no (It.) Dimin. of Andante;
strictly, slower than andante, but; often
used in the reverse sense.
Anda're (It.) To move on . . . A . dirit'to,
go straight on,; a. in tempo, keep to the
tempo.
An'derungsabsatz (Ger.) Half-cadence,
encjing on the dominant triad.
AnenVochord. (Fr. anJmocorde.) . 1 A
keyboard wind-instr. with, strings:, in-
vented by J. J. Schnell, of Paris,- in'
1789, as an attempt to imitate the tone
of tie ^Eolian harp by means of small .
bellows forcing a current of air against
the strings ; a pneumatic harpsichord.
The piano e f olienne of Henri Here
(1851) was a similar instr. (Also
-Animfocorde.)
Ane'sis (Gk,) The passage from a high
tone to one lower in pitch; also, the tun-
ing of strings to a lower pitch, Opp.
to eptfasis* [STALER AKD BARRETT.]
ANFANG-ANTHEJVf.;
AirTang (Ger.) Beginning. Vom A.
same as Da capo.
An'geben (Ger.) To sound, to strike. . .
JDen Ton #,, to give the pitch (as for an
orchestra). .,
Angelic hymn. The hymn sung by the
angels, upon* the announcement of
Christ's birth ; sung in both the East-
ern and Western Churches, extended in
the latter to the " Gloria in excelsis ; "
also in the Anglican and Episcopal
Churches, as a song of thanksgiving
after communion.
Angelica (Lat., "angelic.") See Vox a.
Angelique'. (Fr. angttique.) A key-
board instr. having 17 strings tuned-in
chromatic order ; inv. early in the I7th
century. Also, a kind of guitar.
Angelophone. An earlier name for the
'harmonium or parlor-organ.
An'gemessen (Ger.) Suitable, appro-
priate.
Anglaise (Fr.) The English country-
dance (contredanse\ of lively character,
sometimes in 2-4; at others in 3-4 or
5j-8 .time. It closely resembles the
Ecossaise, and most probably took its
origin from the older form of the
French Rigaudon. [GROVE.]
Angoscjosamen'te / (It.}. Expressive of
Angoscio'so j anguish, agony.
Angst'lich (Ger.) Fearfully (It. timida-
men f te\ 'wrongly tramidamentfy
Anyang "(Ger.) Appendix; coda, co-
detta. ' ' " '
i. Spirit 1 ;", con a., with
spirit, animation. 2* Soundpost.
Animan'do (It.) With growing anima-
.tion,; livelier.. .A nimato^ in an ani*
mated, spirited style. ,
Animocor / de (It.) See Anemockord,
Animo'so (It.) Animated, spirited...
.
with the utmost .animation, spirit> bold-
>ness.
An'mut(h) (Ger.) . Grace,, sweetness,
charm, suavity..-; \An f mut(Ji)i^ grace-
k fully, etc. .
Anomaly. The slight deviation from
the exact pitch caused by tempering
intervals on fixed-tone instr.s ; hence,
.an anomalous chord is one containing
an interval rendered, by tempering, ex-
tremely sharp or flat.
r.) ' To perform in a hesitat-
ing, stumbling manner; to read music
haltingly., . j
An'satz (Ger.) I. Lip, embouchures (in
, * playing wind-instr.s). 2. The-trtethod
of attacking a vocal phrase,
An x schlag (Ger.) I. Touch (on a key-
board instr^) 2. A kind -of double ap^
poggiatura :
written: played:
An'schwellefl (Ger.) To increase -in
loudness, swell.
Ansiosamen'te (It.) In $, style expres-
sive of anxiety or hesitation.'.
An'sprache~(Ger.) - The ".'spe&jkfaig"
of an-ofgan-pipe^wind-instr., s'tJring,
etc. . .An'sfrechen] to speak.
An'stimraen (Ger.) To intone, ' strike
up.. . -:,
Answer. (Lat. cp'mes; Gen Gefdhr'te,
Anfwortj; i* rfyomk wtyiqve ; It.
ripo'sta, comegUetfTe.\ -J-n- i' fugue,
the taking-up of the subject, proposed
by the first part, by the second part, at
a different- pitch. (See Antecedent^ '" ^
Antecedent. (Ger. Ftth'rer; Fr. \hlme;
It. antecedence^ fropd*sth, gui'<?&$
The theme or subject of a fugue t)ij
. canon, as proposed by the first .part.'r
Also, any theme or motive-proposecl for
imitation, or imitated later..
Antelu'dium (Lat.) Prelude, introdlic-
tion. " s ' * * '.'t
Anthem. A pi'ece of sacred music usual-
ly founded on biblical' words, with .or
without instrumental accomp./and of
various forms, : (i) Anthems for double
choir y the, choirs frequently Answering
each, other. . .(2) Full anthems ^ consjst-
ing whollyof chorus, accompanied ofn'ot
(3) Pull anthems with versesjcertqin
part$ of which are sung by solo voi'ces,
' although beginning and close are 'cfo-
ruses(7W/?), and thd- chorus preSbmi,-
1 nates throughout. .'.(4) Verse ant'kenlj\
in which the verses (soli, duets; ''trios,
quartets) predominate over th'e -Io-
nises... (5) Solo anthems i in- -vtfiicfr a
sola part predominate?, though :vf#ie
chorus always comrades : , them ^ . . (6)
Instrumental anthems^ ..tnose.^accpjn-
. paniedvby instr.s other tjian the- orgaax ;
f orme.rlyj so Called. -rTbe.ar;themkn
integral .part" o the Anglican,:^
servjice, i% essentially
ANTHOLOGIUM APOLLO.
duct, a motet developed on the lines of
tocal variety and instrumental accomp.,
approximating to the Ger. Kantatt.
Antholo'gmm (Lat.) The book or col-
lection of the hymns, etc., of the East-
ern Church.
Autibac'clxius (Antibacchy}. A metrical
foot of 3 syllables, 2 long and I short,
with the ictus on the first (-* ^),
Anticipation. (Ger. AnMpatwn', Vor-
awfnahme; Fr. anticipation; It.
antidfanVne.) The advancing of one
or more of the parts constituting a
harmony before the rest, which part
or parts would, if all the parts pro-
gressed simultaneously, enter later:
Anti'co (It) Antique, ancient. . *AWan-
tico, in the ancient style.
Antienne (Fr.) Antiphon.
Afttipken, or An'tiphone. (Gk. antf-
phona t antifphonon ; Ger. Antiphonie*;
Fr. vnfanne; It. anti'fona.) Origin-
ally, a responsive system of singing by
two choirs (or a divided choir), one of
th earliest features in the Catholic ser-
vice of song ; hence applied to respon-
sive or alternate singing, chanting, or
intonation in general, as practised in
the Greek, Roman, Anglican, and
Lutheran churches... Also, "a short
sentence, generally from t Holy Scrip-
ture, sung before and after the Psalms
for the day, or the Canticles, selected
for its appropriateness to the church
season in which it is sung " [STAINER
AND BARRETT].
Antiph'pnaL i. A book or collection
of antiphons or anthems. 2. (adj.) In
the style of an antiphon, responsive,
alternating.
Antiph'onary. (Lat antiphona'rium ;
Ger. Antiphmar* '; Fr. antiphonaire ;
It. antifona'rio.) Properly, a collec-
tion of antiphons, but extended to in-
clude the responsories, etc., sung at
ecclesiastical celebrations. The origi-
nal collections embraced all the anti-
phonal songs both in the mass and the
offices of the Latin Church ; but now,
by long-established custom, a separate
book called the Gradual contains the
mass) ; whereas the responsories of the
office, formerly relegated to the Re-
sponsorial, now form the Antiphonary,
together with the antiphons proper (i.e.
the antiphons associated with tht
psalms of the office). (Also Antiph'-
onal y Antiph'oner.)
Antiph'onel. The planchette-mechan-
ism devised by Alexandre Debain, of
Paris, when attached to a pfte M organ,
or harmonium ; hence Antiphonel-har-
Orgue-antiphonel^ etc.
Anti'phonon (Gk.) Antiphon, anthem.
Antiph'ony. Responsive singing by
two choirs (or divided choir) of alternate
verses of a psalm or anthem ; opp. to
responsoria I si nging , and also to homo-
phony (see Homophonic i).
An'tispast. A metrical foot of four
syllables^ the first and last being short
and the two in the middle long
(- -- w).
Antis'trophe. See Strophe,
Ant x wort (Ger.) Answer.
AnVachsend (Ger.) Same as crescendo*
Aoli'ne, etc. (Ger.) See Molina.
A'olsharfe (Ger.) ^Eolian harp.
A'olsklavier (Ger.) "^Eolian pfte. ;" a
keyboard instr. invented about 1825 by
Schortmann of Buttelstedt, resembling
the Physharmonica, but having, as
tone-producing bodies, wooden wands
instead of steel bars.
Aper'to (It., " open.") " Take the loud
pedal" (in pfte, -music). Clear, dis-
tinct; broad, ample; Allegro aperto %
an allegro with broad, clear phrasing.
Aper'tns (Lat ) i. Open; said of organ-
pipes. 2, SssAperto.
Ap'felrcgal (Ger.) An obsolete reed-
stop in the organ, the narrow pipes of
which were furnished at the top with
hollow perforated globes or buttons
(hence also called Knopf regal),
Aplomb (Fr.) Coolness, self-possession,
steadiness*
Apoggiatura, Apogiatura. Occasion*
al spellings of Appoggiatttra (Fr. ap
pogiature).
Apollo. (Fr* Apollon^ A large lute
APOLLO-LYRA AFPOGGIATURA.
(or theorbo) having 20 single strings,
invented in 1678 by Prompt of Paris.
Apollo- Lyra. See Psalmmslodicon.
Apollonicon. An instr. finished in 1817
by Flight and Robson of London. It
was a combined organ and orchestrion,
containing about 1900 pipes in
stops, with 5 manuals played on by
different performers, and kettledrums
operated by a special mechanism, so
that a full orchestral effect was obtain-
able ; it was likewise provided with
various barrels actuated by machinery,
for the automatic performance of sever-
al extended compositions. It was taken
to pieces in 1840.
Apollonion. An instr. consisting of a
pfte. with double keyboard, combined
with an organ flue-work containing
pipes of 2, 4, and 8-foot pitch, together
with an automatic player the size of a
boy ; inv. by J. H. Voller of Angers-
bach early in the igth century.
Apostrophe ). Often employed as a
breathing-mark.
Apo'tome (Gk.) In the Pythagorean
system, the chromatic semitone 2048:
2187 ; the limma, or diatonic semitone,
therefore being 243:256 (ff X l^ff
= f- = the greater whole tone). This
chromatic semitone (obtained by sub-
tracting 2 whole tones 8:9 from a per-
fect fourth 3:4) was therefore a wider
interval than the diatonic ; whereas our
diatonic semitone is wider than the
chromatic.
&ppassiona'to,-a (It.) Impassioned,
with passion. . .Appassionamen'to, pas-
sion, ardor, deep emotion... Appassio-
natamen'te, passionately, ardently.
Appel (Fr.), Appell' (Ger.) Assembly ;
signal to troops to fall in.
Appena'to (It.) Distressed ; in a style
expressive of distress or suffering.
Applica'tio (It.) Fingering.
Applikatur' (Ger,) Fingering (usually
Finger $al).
Appoggian'do (It, 'Meaning on, sup-
ported.") Said of a tone (note) gliding
over to the next without a break, as in
appoggiaturas and the portamento.
(Also Appoggia'to.)'
Appoggiatu'ra (It.; Fr. appogiatwe;
Ger, V r or f $Mag ? Nach f $Mag!) i. The
accented appoggiatura (Ger. Vorschlag)
is a grace-note preceding its main note
(melody-note), and taking the accent
and part of the time-value of the latter,
(a) The long appoggiatura t now obso-
lete, often occurs in earlier music ; it
was, in point of fact, a. suspension
written as a small note in order to evade,
as it were, the rule against the entrance
of unprepared dissonances. The dura-
tion of the small note properly corre-
sponds to" its time-value if written as a
large note ; e. g.
written :
\J
though cases may occur in which the
appoggiatura takes more than its ap-
parent value :
written :
te
performed ; or (ace. to TURK):
(b) The short appoggiatura is properly
written as a small eighth-note or i6th-
note with a slanting stroke through the
hook ; the general rule for its execution
is, to perform it very swiftly, giving it
the accent of its principal note, and a
portion of the latter's time- value differ-
ing according to the speed of the move-
ment somewhat as follows :
written :
Allegro. Presto.
I_J__J? 3
Andante.
Jf 3
A p .-Jfm. - r
ES3
performed :
(c) The double appoggiatura contains 2
or more small grace-notes (commonly
written as i6th-notes) before a principal .
note ; it is performed rapidly, its Dura-
tion subtracted from the time-value of
the principal note, with tbe accent on
the first small note (compare Anschlag t
Slide}. 2. The unaccented appoggia*
tur& (Ger. N&chschlag)\ a rapid single
or double grace-noteyb/^wzw^ a princi*
pal note, from the time-value of whici
18
APPREST ARE ARIOSO,
its duration must be subtracted, and
with which it is connected by a slur :
written :
Appresta're (It.) To set tip and finish
aninstr.
Appretie'ren (Ger.) Same as Affre-
siart^tAppretur*, the proper adjust-
ment of the parts of an instr.
Aqaivolcen (Ger., pi.) Meistersinger
melodies bearing like names.
Arabesque. (Ger. Arabes'ke.) i. An
occasional title "for pfte. -pieces re-
sembling a rondo in form. 2. Arabes-
ken (Ger. pi.) Ornamental passages
accompanying or varying a theme.
Arbi'trio (It.) Free will, absolute power;
a suoa.,& pleasure (equiv. to a placer e).
Arca'to (It.) Bowed, played with the bow.
Ardieggia'reyt) To play with the bow.
Archet (Fr.) Bow.
Ar / cM-[ar y ke](Lat), and Ar / ci-[ar / -tche]
(It) (Engl. Arch-) Ger. jSrz-.) A
prefix signifying "chief, preeminent/'
formerly applied to names of instr.s in
the sense of "largest" (of the family
in question), and to official titles in the
sense of "head." E. g., Archchanter
(Fr. arcktchantre)) precentor; Arch-
lute (It ardtiu'to, Fr. archiluth, Ger,
Ersflaute), a variety of the bass lute ;
Ardccm'balo (It.; Fr. archicembalo,
Ger. Arckicym f bat) t a keyboard stringed
instr. inv, by Niccold Vincentino (i6th
century), with 6 keyboards, and keys
and strings for all the tones of the three
ancient Greek modes (diatonic, chro-
matic, and enharmonic); Ardmo'la di
Kra (It), same as Lirone.
Ar'chi (It., pi. of Arco.) Bows; gli
archi* "the bows/' L e. bow-instr.s in
the orchestra ; Engl. equivalent, "the
(It) Bow; a pwfia, tfarco, or
coflapunta, dW7*<w#v with the point of
the bow ; col^arce, with the bow, i, e.
resume the bow after a pizzicato pas-
sage. ..Area in gik % down-bow ; a. in
jw, up-bow.
Arden'te (It) Ardent, fiery, passionate.
Arditez'za, con (It.) Boldly, spirited-
ly.,. .Ardi'to, bold, spirited.
Aretin'ian syllables. (Ger. areti'nisch*
Sil'ben.) The syllables /, re, mi, fa,
sol^ la, first used as solmisation-sylla-
bles by Guido d'Arezzo.*
A'ria (It.; Ger. A'rie.) Primarily, an
air, or rhythmic melody. As a technical
term, an aria is an extended lyrical
vocal solo in various forms, with in-
strumental accompaniment. With the
rise of homophonic music in the opera
and oratorio, the aria developed, from
a mere plain-song melody with basso
continue t into the aria gran'de (the
grand or da-capo aria in 3 divisions
preceded by an instrumental ritornetta
containing the principal melody ; divi-
sion I being an elaborate development
of a theme with frequent repetitions of
the words; II, a more tranquil and
richly harmonized section ; followed by
III, the repetition da capo of I, with
still more florid ornamentation); the
aria di bravu'ra, (similar to the fore-
going, but overloaded with difficult
passages and coloraturas for showing
off the singer's skill); the aria da chi/i
sa (church-aria, differing from the sa-
cred song chiefly in its greater breadth,
and in being accompanied by full or-
chestra); and the aria da concerto
(concert-aria, differing from the others,
which are portions of operas, oratorios
etc. , in being an independent composi-
tion intended for the concert-hall).-^
The modern aria is freer in form than
the aria grande of the i8th century,
the. ritornello often being omitted,
greater variety given to the da capo,
and the thematic construction made to
follow the sense of the, words, sathat it
sometimes assumes the form of a rondo,
or consists of 2 slow divisions separated
by an allegro movement. . .Aria par*
lan'te (also ario'so), a vocal style com-
bining the melody of an aria with the
distinct enunciation of a recitative, the
vowels being " thrown forward."
Smaller arias, nearly in song-form
and with slighter accompaniments, are
called ariettas or cavatinas.
Arietta (It.) A small aria, (See Aria.) ,
Ariette (Fr.) Same as aria grande, the
original signification being completely
reversed.
Ario'so (It.) In vocal music, a style in*
termediate between aria and recitative
farlantc}\ also, a short mdo.
ARMER LA CLEF- ASPIRATION.
dious strain interrupting or terminating
a recitative. Also signifies an effective
dramatic style suitable for the aria
grande.In instrumental music, same
as cantabik.
Armer la clef (Fr.) See CUf. Add sig,
Arm / geige (Ger.) Viola da braccio.
Armoni'a (It) Harmony . . Armenia
milita're, military band.
Armo'nica (It.) i. Harmonic. 2. Har-
monica.
Armonie (Fr,) Probably same as Vielle.
Arraoniosamen'te (It.) Harmoniously;
armonio'sOi harmonious.
Armure (Fr.) I. Mechanism, action, 2-
Key-signature.
Ar'pa (It) Harp... ,4. do/fia, see
Spitzharfe.
Arpanet'ta, Arpanel'la (It.) A small
harp. (See Spitzharfe.)
Arpfege (Fr.) Arpeggio. . .
playing arpeggio, breaking a chord. . ,
Arpe'ger, to arpeggio.
Arpeggian'do (It.) Playing arpeggio,
in harp-style, or in broken chords;
from arpeggia're^ to play on the harp. .
Arpeggia'to, (a) arpeggiated, arpeg-
gio'd ; (b) as a noun, same as Arpeggio.
Arpeggiatu'ra (It.) A series of arpeg-
gios.
Arpeggio (It., pi. arpeg*gi t Engl. pi,
arpeg'gios.} [Lit. "harping."] Playing
the tones of a chord in rapid and even
succession ; playing broken chords.
Hence, a chord so played, or broken ,
a broken or spread chord, or chord -
passage. The modern sign for the a.
calls for
: the follow.
: ing execu-
tion:
i. e. the first arpeggio-note falls on the
accent ; this is the rule for the accent,
tho* there are occasional exceptions
N.B. Pfte.-ar-
peggios are writ-
ten in 2 ways:
(i) indicates that
the arpeggio is
simultaneous in
both hands; (2),
that all the notes are to be played in
succession from lowest to highest. In
earlier music (Bach, Handel) the same
sign calls for a more or less free spread-
ing of the chords, generally according
to a preceding pattern-chord, in which
the a. is written out in full. Obsolete,
or unusual signs are as follows :
a. A. c. d. e. f.
a, t>, r, d are equivalent to the modem
sign ; <?, / g call for a reversed (de-
scending) arpeggio ; h means either an
ascending arpeggio, or a combined a,
and acciaccatura ; i and k signify a
spreading in eighth-notes ; the appog-
giaturas at / and m delay the perform-
ance of the notes to which they are
attached by the time required for play-
ing a long or short appogg. respectively.
Arpeggio'ne, An instr. like- a small
'cello, with fretted fingerboard and 6
Stauffer, of Vienna.
Arpicofdo (It.) Harpsichord.
Arpo x xie (It.) An instr, played like the
harp, but having the strings adjusted
horizontally instead of vertically; inv.
by Barbieri of Palermo, towards the end
of the 1 8th century.
Arrangement. (Ger. and Fr. ditto; It,
riduzio'ne). The adaptation of a com-
position for performance on an instr.,
or by any vocal or instrumental com-
- bination, for which it was not originally
intended ; hence, the composition as so
adapted or arranged.
Arranger (Fr.), Arrangie x ren (Ger.) To
arrange. (See Arrangement) '
Ar'sis (Gk.) Up-beat.
Art (Ger.) Sort, kind ; manner, style!
Articola're (It.; Fr. articuler; Ger.
'artikulie f ren^ To articulate, utter dis-
tinctly.*.Articola't0 1 articulated. . .Ar~
ticolazio'ne^ articulatipn.
Ar'tig(lich) (Ger.) Neatly, prettily,
gracefully.
As (Ger.) Ab.As'as, or As'es, Abb-
Aspirate (It.) To aspirate. Also, in
singing, to quaver a vowel by audibly
interpolating successive ^'s. Also,, td
take Breath.
Aspiration (Fr.) An obsolete grace
(comp. Grace).
ASPREZZA AUTHENTIC.
Asprez'za (It,) Harshness, roughness;
bitterness.
Assa'i (It.) Very ; used to intensify a
tempo-mark, as allegro assai, very
rapid ; it has less intensifying force
than malic*
Assembly. A signal by drum or bugle
for soldiers to rally and fall in.
Assez (Fr.) Enough ; rather.
Assoln'to (It.) Absolute, positive \printo
uom& assoluto* a male singer for lead-
ing roles.
As'sonance* (Ger. Assonant \ Fr. as-
sonance; It. assonan'za.) Agreement
or resemblance in sound.
A'them (Ger.} Breath. . .A'themlos,
breathlessly).
Attac'ca (It.) Attack or begin what fol-
lows without pausing, or with a very
short pause; a. subito (or attaca'te
subito), attack immediately.
Attacca're (Tt.), Attaquer (Fr.) To
attack, or begin, at once.
Attac'co (It.), Attaque (Fr.) A mo-
tive in fugal imitation ; formerly, a very
short fugue-theme.
Attache du cordier (Fr.) Loop.
Attack. The act or style of beginning
a phrase, passage, or piece ; said both
of vocalists or instrumentalists, either
in solo or ensemble.
Attendant keys of a given key are its
relative major or minor, together with
the keys of the dominant and subdomi-
nant and their relative major or minor
keys. (Comp. Phone, 4.)
At'to(It) Act of a drama.
Atto're, (Attri'ce) (It.) Actor (act-
ress).
An (Fr.) To the, in the, etc.
Anbade (Fr.) i. Morning-music, gen-
erally addressed to some particular per-
son ; opp. to Serenade; specifically, a
morning-concert by a military band. 2.
Occasional title for short instrumental
pieces in lyric style. 3. A calli-
thumpian concert (ironical).
Audace (Fr.) Audacious, bold.
Anffassang (Ger.) Reading or con-
ception (of a work).
Aufffihrung (Ger.) Performance.
Aufreregt (Ger.) Agitated(ly), excit-
AurVeweckt (Ger.) Lively, animat-
cofy), briskOy),
Aufhalten (Ger.) To suspend... A uf-
haltung) suspension (usually Vot'halfy.
Auf'losen (Ger,) To resolve. . H Auf-
losung* resolution ; also, the breaking
of a chord ; also, the solution of an
enigmatical canon . . . A uflosungszei^
chen t the natural (p),
Aufsatz (Ger.) Tube (of a reed-pipe in
the organ).
Aufschlag (Gen) Up-beat... Auf-
schlagende Zung'e^ beating reed.
Aufschnitt (Gef.) Mouth (of an organ-
pipe).
Aufstrich (Ger.) Up-bow.
Auf takt (Ger.) Up-beat, anacrusis ; a
fractional measure beginning a move-
ment, piece, or theme (in this sense
often used by English writers without
capital \auftakfy.
Auftritt (Ger.) Scene.
Aufzug (Ger., lit. "raising [of the cur-
tain]'*.) An act of a drama.
Augmentation. (Ger. Vergro' sserung,
Verlang' erungl) I. Doubling or in-
creasing the time-value of the notes of
a theme or motive in imitative counter-
point. 2. See Notation , 3. Aug-
mented intervals, see Interval.
Augmenter (Fr.) To increase (ia loud-
ness) J en augmentant=crescendo.
Aule'tes (Gk.) Flute-player... A ulos,
flute.
AumentatrMo (It.) Crescendo. >.Au~
menta'to> augmented.
Aus'arbeitung (Ger.) Working-out,
development.
Aus'druck (Ger.) Expression. . .Au/-
drucks-voll^ expressively.
AusTiihrung (Ger.) Execution, perform-
ance ; exposition.
Aus'halten (Ger.) To sustain; sustain I
. . A us'haltung^ sustaining. . . A us'haU
tungszeichen^ see Fermate*
Aus^osung (Ger.) Hopper, grasshopper,
escapement.
Au'ssere Stim'men (Ger.) Outer parts.
Au^serst (Ger.) Extreme(ly),
Aus'stattung (Ger.) Mounting (of an
opera, etc.)
Aus'weichung (Ger.) Modulations
transition.
Authentic. (Ger. authen'tisch ; Fr.
autheniique ; It. auten'tico.) Within
the compass of an octave above the
.keynote... ^4 . cadence ; mode> see Co*
AUTO-HARPBAGPIPE.
21
deuce, Mode...Au. melody, one whose
range extends through or nearly through
the octave-scale above its tonic or final ;
opp. to flagal. . .Au. fart of the scale,
that lying between a given keynote and
its higher dominant, the part between
the keynote and lower dominant being
Auto-harp. (Gen Akkord' zither.} A
zither without fingerboard or accom-
paniment-strings, all the strings being
plucked or swept by the plectrum and
stopped by a series of from 4 to 8 com-
pound dampers (called "manuals" or
44 pedals "), each of which when pressed
down damps all the strings except those
forming one particular chord ; tie plec-
trum, rasping across all the strings,
sounds this cord as an arpeggio ; the
melody is brought out by special stress
on the highest (or any other) tone of the
chord.
Au'tophon.. A form of barrel-organ,
the tunes played being determined by
perforations in a sheet of mill-board
[heavy pasteboard] cut to correspond
with the desired notes. (KNIGHT.)
Auxiliary note. (Ger. Hilf^note.) A
note not essential to the harmony or
melody ; particularly, a grace-note or
added note a second above or below a
given melody-note... A uxiliary scales,
those of attendant keys.
A've Mari'a (Lat.) " Hail, Mary ! " ;
the salutation of the angel Gabriel at
the annunciation; followed by the
words of Elizabeth to Mary (Luke I,
42), it has been a favorite subject of
sacred composition since the yth cen-
tury ; concluded by a hymn of praise
or prayer to the Virgin.
A've ma'ris stella (Lat., "hail, star
of ocean!") Hymn of the Roman
Catholic Church.
Avec (Fr.) With,
Avici'nium (Lat.) An organ-stop imi-
tating the warbling of birds.
Avoided cadence. See Cadence.
Azio'ne sa'cra (It., "sacred drama" ;
equiv. to the Spanish "auto sacra-
mentale ",) An oratorio or passion,
B.
B. (Ger. H; Fr. and It. si.) The 7th
tone and degree in the typical diatonic
scale of C-major. . B caneella'tum, the
sharp (J), formed originally by crossing
or cancelling the sign \) for B rotun'-
dum. . .B quadra' turn, BJJ. . .B is also
an abbr. for Bass or Basso (c. B.=col
Basso ; B. C.= basso continuo).
Baboracka, Baborak. Bohemian danc-
es with changing rhythms.
Bac'chius (Bacchy). A metrical foot
containing I short and 2 long syllables",
with the ictus on the first long one
(---).
Baccioco'lo (It.) A Tuscan instr. of
the guitar family.
Bachelor of Music. (Lat. baccalau'reus
mu'sica?) The lower of the 2 musical
degrees, Doctor of Music being the
higher.
Back. (Ger. Boden; Fr. dos; It. schiena^
The lower side of the body of a violin,
etc. ; opp. to Belly.
Back-block. Same as Wrest-block.
Backfall, i. An obsolete melodic or-
nament in lute or harpischord-music ;
\
written m nr m ; played
(Also comp. Graced] 2. A double
lever in the organ-action, working be-
tween a sticker and a pull-down,
Backturn. See Turn.
Badinage (Fr.) Good-humored raillery,
banter.
Bagana. The Abyssinian lyre, having
10 strings tuned to 5 tones and their
octaves.
Bagatelle (Fr.) A trifle.
Bagpipe(s). (Ger. Du'delsack, Sack'-
ffeife; Fr. cornemuse; It. cornamu'sa.)
A very ancient wind-instr. of Eastern
origin, known to the Greeks and Ro-
mans, in great vogue throughout Europe
during the middle ages, and still popu-
lar in many countries, especially Great
Britain. It consists of a leathern bag,
filled with wind either from the mouth
or from a small bellow? worked by the
player's arm, and of pipes inserted in
and receiving wind from the bag. The
commonest form has 4 pipes ; 3 drones
(single-reed pipes tuned to a funda-
mental tone, its fifth and its octave, and
sounding on continuously), and I mel-
ody-pipe ', the chanter (a sort of shawm
or double-reed pipe with from 6, to 8
finger-holes; compass approximately:
BAGUETTE-BANDOLA,
PRAETORIUS enumerates several sizes
used in the iyth century ; the "Grosser
JBock" (drone in contra- or great C),
" Schaperpfeif* (drones in tip and / ] )
"H&mmckhen." (drones /W 1 ), and
Baguette (Fr.) Drumstick ; fiddlestick
Baisser (Fr.) To lower (as a tone by a (7),
Bajadere. See Bayadm.
Balalaika (also Bahlelka, Balaleiga).
A rude stringed instr. of the guitar
family, having 2, 3, or -4 strings tuned
in minor. It is of Russo-Tartar origin,
and now most often met with among
the Gypsies.
Balancement (Fr.) See Bebung.
Balance-rail. A strip of wood running
transversely beneath the middle of the
piano-keys, which are balanced upon
it, ^Balance swell-pedal, see Pedal.
Balg (Ger.) Bellows. . . Batgentreter
("belbws-treader"), calcant, a man
employed to tread or stand on the old-
fashioned German organ-bellows to fill
t^em with wind. ..Balg* 'kla-vis, see
Claris. - - Balg'werk, bellows.
Balden (Ger.) i. Bass-bar. 2. The
thick line connecting the stems of
grouped hooked notes, substituted for
the hooks.
Ballabile (It.) A composition intended
for a dance-accomp. ; any piece of dance-
music.
Ballad. (Ger, and Fr. Ballo/de; It.
b&tta'ta.) Originally, a song intended
for a dance-accomp.; hence, the air of
such a song. In modem usage, it is a
simple narrative poem, a mixture of the
epic and lyric, generally meant to be
song. As a purely musical term, it
was originally applied to a short, simple
vocal melody, set to one or more stan-
zas, and with a slight instrumental
aecomp. In an extended application, it
includes instrumental melodies of a
similar character; also compositions for
single instr.s, for orchestra, etc., sup-
posed to embody the idea of a narrative.
Ba2a / deama$sig(Ger.) In ballad-style.
Ballad-opera, An opera chiefly com-
posed of ballads and folk-songs (e. g,
Gay's "Beggar's Opera").
Balla'ta (It.) A halkd. . .A ballata, in
ballad-style.
Bafleri'na (It) A female ballet-dancer,
Ballet. (Ger. */&'/ Fr. laUet; It.
bal' to, ballet? to.) I. A spectacular dance,
often one introduced in an opera or
other stage-piece. 2. An independent
pantomimic representation, accompan-
ied by music and dances setting forth
the thread of the story. 3, A compo-
sition of a light character, but somewhat
in the madrigal style, frequently with, a
"fa la" burden which could "be both
sung and danced to ; these pieces, , were
commonly called c ' Fa las " [GROVE],
4. The corps of ballet-dancers (corps de
ballet).
Ballet'to (It.) I. Ballet. 2. Title em-
ployed by Bach for an Allegretto in
common time.
Bal'lo (It.) A dance; 'a
ingle' si, English dances ; balli ungare*si t
Hungarian dances. . . Da ballo, in dance-
style, light and spirited,
Ballon'chio (It.) See Paspy. (Origin-
ally, a round dance of the Italian
peasantry.)
Ballonza're (It.) To dance wildly and
recklessly, regardless of rule.
Band. x. An orchestra. 2 (most com-
monly). A company of musicians play-
ing martial music (brass-band, military
band); 3. A company of musicians, or
section of the orchestra, playing instr.s
belonging to the same family or class
(brass-band, string-band, wood-ba'iid,
wind-band). ..The 24 fiddlers of
Charles II. were called "the king's
private band."
Band (Ger.) A volume.
Ban'da (It.) The brass wind-instr.s,
and the instr.s of percussion, in the
Italian opera-orchestra. Also, an .or-
chestra appearing on the stage.
Bandalore, Bandelore. See Bandore*
Bao'de(Ger.; usually Musitf- or Musi-
kan'tenbande.) A company of strolling
musicians. (Fr . ) In earlier usage, ,the
24 violins at the royal court (" lagrande
bande").
Band-master. The conductor of a milir
tary band. ..Bandsman, a member of
such a band. > X
Bandcrta (Span. ; dstoBandohn, Bahdora,
Bandura.) Instr.s of the lute family,
with a greater or smaller number of
steel or gut strings, and played with a
plectrum ; like the Pandora, Pandura^
Pandwina, Mcfndora, Mandola, Man-
doer, Mandura, Mandilrchen^ all es-
sentially identical with the Mandolin
BANDONION-BARRA.
still in vogue (see Mandolin and Lute}
[RlEMANN.] (Also comp. Citker.}
Bafido'nion. A kind of Concertina with
square ends (keyboards), inv. by C. F.
Uhlig of Chemnitz, about 1830, and
since then much improved and enlarged.
It takes its name from Heinrich Band
of Cref eld, a dealer in the instr. Comp.
art Harmonicum.
Bandore. See Bandola and Cither.
Bandanna (Span.) A variety of guitar
having wire strings instead of gut.
Banger. The banjo. (" The Negroe-
Banger" [ADAIR].)
Bania, Banja (African.) Parent instr.
- of the Banjo. (?)
Banjo. A variety of guitar ; its body is
formed by a circular hoop, over the
-upper side of which is stretched parch-,
ment or skin ; it has a long neck with
or without frets, and from 5 to 9 strings,
the melody-string, which is the,shortest
-' and played with the thumb of the right
' hand, lying outside of and next to the
lowest bass string. The other strings
ate ' plucked or struck with the right
hand, and all are stopped with the left.
It is variously tuned, the 5-stringed
banjo often as follows :
Banlcelsanger (Ger. ; " bench-singers,"
from their mounting on benches, the
better to gain a hearing.) Strolling
singers of a low class, who frequent
.fairs and other places of public resort,
and recount, partly singing and' partly
.speaking, romantic tales taken from
.history or adventure, stirring events of
the day, etc., usually explanatory of a
picture which they display.
Bar. (Ger. Takfstrich; ?T.barrej It.
li f nea> baSra, sba^ra.) i. A vertical
line dividing measures on the staff, and
indicating that the strong beat falls on
the note immediately following. 2.
Hence, the popular name for 4 'measure".
. . .Bar-line, a barbarism evoked by the
familiar use of bar for measure.
Bar (Ger.) Compare Strophe 3.
Bartaro (It.) Equiv. to Fence.
Bartiton, Bartitos. An ancient
Greek variety of the lyre.
Barcarole'. >(Ger. ditto; Fr. barcarolle ;
It. barcaro'ta, barcaruo'la, "boatman's
.Song.") i. A gondoliera (s^ng of the
Venetian gondoliers), 2. A vocal or
instrumental solo, or concerted piece, in
imitation of the Venetian boat-songs,
and in 6-8 time (though Chopin's for
pfte, is in 12-8 time).
Bard* A poet and singer among the
ancient Celtic nations; one who 'com*
posed and sang, generally to the harp,
verses celebrating heroic achievements.
. . In earlier Scotch usage, a vagabond
minstrel.
Bardiet', Bardit' (Ger.) [A word coined
by Klopstock, who derived it from the
"barditus" (for baritus, a battle-song)
of Tacitus, whence the erroneous as-
sumption that the 'ancient Germans had
bards.]. A bardic song.
Bardo'ne. i (It,) A barytone 2. 2
(Ger.) Occasional spelling for Bourdon
(organ-stop); 'also Barduen.
Bare fifth. See Naked.
Ba'rem. (Ger.) Obs. name for the very
soft-toned organ-stop Stiff gedackt or
Musicir* gedackt.
Bargaret, Barginet. Same as Bergeret,
Baribas'so (It.) A low barytone voice,
a bass-barytone.
Bariolage (Fr.) A medley. A caden.
2a, or series of cadenzas, whose appear*
ance forms a design upon the music*
paper, a " waistcoat pattern," as it is
called by performers. [STAINER AND
BARRETT.]
Bariteno're (It.) A low tenor voice, a
tenor-barytone (second tenor)
Ba'riton (Ger.), Bariton (Fr.), Ban 7 -
tono (It.) Barytone. [An attempt has
been made to confine the spelling bari*
tone to instruments, and barytone to the
voice ; the idea is not yet generally
accepted.]
Baroc'co (It.; Gen baroctf; Fr.. baroque.)
Eccentric, odd, strange, whimsical,
Barox'yton (Gk., "the deep and high-
toned. ") A brass wind-in,
str. of broad scale, inv. j__
ia 1853 by Cerveny of gjgj
Kbniggratz; compass from *
contra-^) to a 1 :
BaVpfeife (Ger., also BaSffyt, Barpyp;
Dutch Baar*pyp.) A reed-stop in old
organs, with pjpes nearly closed by
caps of a peculiar shape, and emitting
a humming, 4I growling" tone.
Barquarde (Fr.) Obs. for Barcarolle*
(It.) A bar (not measure).-
BARRE-BASSE.
Barre (Fr.) A bar (not measure); also
barre de mesurf. Certain abbrevia-
tions are also termed barres. Also, the
low bridge of some stringed instr's...
Also tlie accent mark ( } *.B. har-
monie, bass-bar.. *B de rtpttition, a
dotted double-bar, indicating a repeat.
Barre) (Fr.) In lute- or guitar-playing,
the stopping of several or all the strings
by laying the left-hand forefinger across
them, the next fret then acting as a ca-
potasto or temporary nut to raise their
pitch.. .Grand barre, a stop of more
than 3 strings. , . C-barr^ see TranchL
Barrel-organ. (Ger. Drehorgel, Leier-
hasten; Fr. orgue a cylindre (not/),
orgue de Barbaric ; It. organetfto.) An
instr. (often portable) consisting of a
case containing pipes, a bellows, and a
cylinder (the barrel) turned by a crank
and studded with pins or pegs ; when
the cylinder revolves, the pins open
valves communicating with the bellows,
which is worked by the same motion,
and wind is thus admitted to the pipes.
It generally plays a melody with an
harmonic accomp. Larger forms (see
Orchestrion) are used in dance-halls,
restaurants, or even in churches. In
another variety, hammers striking wire
strings (as in the.pfte.) are similarly
actuated by the revolving cylinder (pi-
ano-organ^ handle-piano)*
Bart (Ger.) Ear (of organ-pipe). Also
Barytone.
Fr. baryton; It, bari'tono.) The male
voice intermediate between bass and
tenor, and in quality partaking more or
, less of the characteristics of both ; thus
theGermansdistinguish betweena JJtaj/-
bariton and a Tenor* bariton^ ,and the
French had (in earlier usage) basst-iail-
le^ seconds faille, and ttnor
on4rdant. Its mean flfr"?/
compass is from G to f l : ^ - J/
Hence, a singer having a barytone
voice. 2, A bow-instr. (It. vio'la di
fardtfm or fordone] resembling the
viola da gamba^ in great favor during
the i8th century, but now obsolete ; it
had 6 or 7 gut strings, stopped by the
left hand, above the fingerboard, and a
widely varying number of brass or steel
strings (from 9 to 24) below it, which
acted as sympathetic strings, though
sometimes plucked with the left thumb.
The upper strings were tuned B E A
df &. It dates from the 1 7th century.
3- The euphonium. 4 Prefixed to
instr.-names, barytone denotes the pitch
of an instr. intermediate between bass
and tenor (or alto)j e. g. barytone
dzrm.&..*Barytone~clef> the (obsolete)
/"-clef on the 3rd line.
Ba'rytonhorn (Ger.) The euphonium,. ,
Bofrytonsckliissel, barytone-clef.. .Ba'~
rytonstimme, barytone voice or part.
Bas-dessus (Fr.) Mezzo-soprano.
Base, Old spelling of Bass.
Bas1cischeTrom'mel(Ger.) Tambour,
inc.
Bass. (Ger. Bass; Fr. basse; It. bas**
so.) i. The lowest tone in a chord, or
lowest part in a composition. 2. The
lowest male voice ; ordinary compass
from F to; 1 (or d l )i
+. Cj*3 cxtICIM
compass
from C
3. A prefix indicating the lowest in
various families of instr.s, as bass trom-
bone. 4. (Ger.) (a) Abbr, for Kontra-
bass (double-bass)... (b) In earlier
usage, a bow-instr. intermediate in size
between the 'cello and double-bass,
having from 5 to 6 strings...^) As a
suffix to the name of an organ-pipe, lass
denotes that it belongs on the pedal ;
e. g. Gemshornbass. Albertibass, a
bass in brok-iiM. , , f m f
en chords likefE ~f 'TTJ \ jj
the following: W 1 l^ h
. * . Continued or figured bass, bass
notes provided with figures indicat-
ing the chords to be performed above
the notes (Basso continue)... Funda-
mentalbass,$tt Fundamental. . Ground
Bass; a continually repeated bass phrase
of 4 or 8 measures (basso ostinatd)..*
Murky bass, see M urky. . . Supposed
bass y a bass tone other than the root of
a chord... Thorough-bass \ see that word.
Bass-bar. (GecJBaTkn; Fr. barre d'har*
monte, ressort.) In violins and the like,
a long narrow strip of wooc^ glued to the
inner surface of the belly parallel with
and just beneath the G-string, put in to
strengthen the belly and equalize the
vibration. [The violin-maker Held, of
Beuel, Germany, gives the bass-bar a
slight diagonal inclination, in accord-
ance with a suggestion by Ole Bull.]
Bass-clet /'-clef on the 4th line. (Set
Basse (Fr.) Bass. (Also applied to tl
BASSET-HORN-BATON.
thick lower strings of an instr., as fa
basses dun piano).., B. chantante, the
high "singing'* (i. e. flexible) bass
voice; a barytone.. .B. chiffrte, fig-
ured bass. . . B. continue, basso con-
tinuo. . . B. contrainte, basso ostinato. . .
B. -centre, a deep bass voice. . . B. de
cornet, old term for the serpent, as the
natural bass for the cornet family...
B. de cremone (cremorne, cromorne), the
Bassoon, or its precursor. .. J?. deflate
iraversiere, b. ahaulbois, same as pre-
ceding. . . B. a* harmonic, the ophi-
cleide. .-.-#. de mole, see Barytone 2.. .
B, de violon, b. double, double-bass, . .
B. fgurje, figurate bass...^, fonda-
mentale, (a) root of a cord, (b) a gener-
ator (see Fundamental bass). . .B. guer-
' riere; a species of bass clarinet. * . Basse-
orgue, an instr. inv. by Sautermuiter of
Lyons, in 1812... B. rfritante, see B.
chantante...Basse-taille, barytone voice.
Bas'set-horn. (Ger. Bassetfhorn ; Fr.
cor de basset ; It. cor' no di bassefto.)
An alto or tenor clarinet in F, no
longer in use ; */ It has a
compass from |g| Trt-r~~ single
' "y
F to t* :
reed, and
a wooden tube bent at the mouthpiece
and bell. Timbre mellow, though of a
sombre quality, like the bass clarinet,
especially in the lower register.
Bassett' (Ger., also Basset I, Bass'l.)
I. Old term for the 'cello. 2. As a
prefix to the names of other instr.s,
same as Tenor. 3. A 4-foot flute-
stop on the organ-pedal.
Basset'to (It.) I. A small bass viol
with three strings (obs.) 2. When
the bass rests, the lowest harmonic
part. 3. Tenor violin (rarely). 4.
An 8 or i6-foot reed-stop in the organ.
Bass'flote (Ger. "bass flute.") See
Fldtenbass.)
Bass'geige (Ger.) Familiar term for the
'cello; gro'sseBassgeige, the double-bass.
Bass'horn (Ger.) See APPENDIX.
Bass'klausel (Ger.) The cadence-like
leading of the bass at a close, from
dominant to tonic.
Bass'lade (Ger.) See Windlade.
Bas'so (It.) i. Bass, either as the
fundamental harmonic part, a bass
voice, or a bass singer. 2. A bass
instr., more especially the double-bass.
B. buffo, see Buffo... B. cantan'te,
(a) a vocal bass ; (b) comp. Basse chan-
tante (opp.to basso prof on f do)., .B. con-
certan'te, the principal bass, as an ac-
comp. to soli and recitatives.. .B.con-
ti'nuo (or continue' to), a continuous
bass provided with figures indicating
the chords to be played above it ; also,
thorough-bass.. .B-figura'to, (a) basso
continue; (b) a figurate bass part...
B.fondamenta'le, fundamental bass...
B. numera'to, figured bass... B. obbli-
ga'to, an indispensable bass part or
accomp...^. ostina'to, ground bass...
B. prof on' do, a deep, heavy bass... 2?.
ripifno, see Ripieno.
Basson (Fr.) Bassoon... B. quinte, a
tenor bassoon a fifth higher in pitch
than the ordinary one ; compass :
I which is is
I written
Bassoon 7 . (Ger. Fagot? ; Fr. basson;
It, fagotto.) A wood-wind instr. of the
oboe family, serving as bass for the
wood-wind. The tube is doubled upon
itself, forming 2 parallel air-chambers ;
the long, curving mouth-piece is of
metal, with a double reed ; compass
from B\\) to c*, on -& tf)
newer instr.s to ty, IsB' (jjpT"*
and extended by vir- * t^AT "'""
tuosito* 2 oreven/ 2 : ^
The unwieldy length of the parent-
instr., the bombardo, led in 1539 to the
idea of bending the tube back upon
itself, and from the faggot-like appear-
ance of the new instr. its Italian name
is derived. The tone is far softer and
mellower than that of the bombardo,
and its expression is entirely under the
player's control.
Bass'pommer (Ger.) See Bomhart.
Bass'posaune (Ger.) A bass trombone.
(See Trombone?)
Bass'schliissel (Ger.) Bass-clef.
Bass'stimme (Ger.) Bass voice,
Bass'tuba (Ger.) See Tuba.
Bass viol. See Viol
Ba'thyphon (Gk.; "the deep-toned.")
A wood-wind instr. inv. in 1829 by
Wieprecht (or Skorra?) of ., .. to
Berlin, having a clarinet W$ / ' 'E
mouthpiece, and a compass^ -J
from contra-Z) to small b\> : toa
used for a short time in military bands.
Ba'ton. r. (Fr. bd ton de mesure -.&&.
Taktstock, Taktstab, Taktierstock, etc.;
26
BATON-EEC.
^rjt bacchtfta[& diretto're].) The staff
vof wand with which the conductor of a
fliusical performance beats the time.
2. A rest of 2 measures.
Baton (Fr.) A thick vertical stroke
traversing i or more spaces of the staff,
and indicating, according to the number
so traversed, a rest for an equal number
of measures: . , .
replaced in 3
t-y-|-.-_ | j |- modern us-
1 " I g I'l 1= age by signs
(see jfflwwr/-ra/,under fast)* . .gdton
de mesure, a Baton l . . ... de reprise ', a
repeat
Battante (Fr.) Beating.
Battement (Fr.) i. An obsolete grace,
consisting of a short trill preceding the
principal tone and beginning on the
auxiliary a semitone below it. It had no
sign, being always written out in small
* notes : played :
A 01*4.
Baftere(It) Down-beat.
Batterie(Fr.) L, A general term for brok-
en-chord figures on stringed instr.s; e.g.
distinguished from the arpeggio (ace.
to ROUSSEAU) by being played staccato
instead of legato. 2. Striking instead
of plucking the strings of a guitar. 3.
, A roll on a side-^drum. 4. Thepercus-
"skm-group in the orchestra.
Battery. An effect in harpsichord-music:
written:
; played :
Battunen'to (It) Battement.
Battu y ta(It) i. A beat. 2. A measure
or bar (battuta taken in the narrower
sense of " down-beat " ; see Rtfmo di
due battute\-^ : In medieval counter-
point, the forbidden progression from
a tenth on the up-beat to an octave on the
clown-beat, between 2 outer parts ; e. e.
- * i :- , *
Aj> J n
I -^ vuuuta, in time,
1
J. parts accompanying a
etc. vocal melody to keep
J strict time (opp. to
that his d
a hint to the singer
tlivery should not be too free,,
Bau (Ger.) Structure, construction.
Bau'erlein (Ger.) Bauernjlote.
Bau'ernflote,-pfeife (Ger.; " rustic
flute"; lsz.t.ti'biarures'tns.) A pedal-
register not uncommon in old organs,
consisting of stopped pipes of I or
2-foot pitch.
Baxoncil'lo (Span.) r. An organ-stop
like the open diapason. 2. A small
bassoon,
Bayadere', Bayadeer 7 . East-Indian
dancing-girl.
Ba'yla, Ba'yle (Span.) A dance ; tayk
has the more comprehensive significa-
tion.
bb (Ger.) Double-flat (see Doppel-b\
B cancella'tum, B du'rura. See J? f
Bear^beiten (Ger.) To revise, work
over, adapt, arrange, rearrange, touch
up. . .BeaSbeitung, an adaptation or re-
vision, a working-over.
Bearing-notes, Bearings. The tones
first carefully tuned by the tuner of a
pfte. or organ, serving to regulate its
entire compass by.
Beat. i. (Ger,; TakfsMag, Takfteil;
Fr. battement de mesure, temps; It. bat-
tu'ta?) The motion of the hand or foot
in marking time (the equal divisions of
the measure). 2. A division of a mea-
sure so marked. 3. In a trill, a pulsation
embracing 2 consecutive tones. 4. In
acoustics, see Acoustics, 3. 5. An old
, grace, consisting of a short trill before *
the principal note ;
written: played:
Beating. Same as Beat 4.
Bebisa'tion. Compare Solmisation.
Be^ung (Ger.; Fr. Mancement; It.
tre'molo.) I. A rapid pulsation or
tremulous effect, either vocal or instru-
mental, given to a sustained tone for
the sake of expression. 2. Specifically,
an effect obtained on the clavichord by
holding down a key after striking it,
and balancing the finger upon it in
such a way as to produce a prolonged,
tremulous tone. (On modern piano-
fortes having the Erard action, a stts-
tained tone can be produced in a some-
what similar manner.)
Bee (Fr., "beak.") A mouthpiece (of a
^>flageolet > clarinet).
BECARRE-BERGKREYEN.
Bcarre (Fr.) The natural (fl).
Bec'co (It.) Same as Bee. . . Becco po
lac' co, a large species of bagpipe.
Bech'er (Ger., "beaker, cup.") i. Th<
bell (of various wind-instr.s ; also
Schairtrichter}.2. The tube (of a reed
pipe in the organ; also Aufsatz
Schalfbecker).
BecVen (Ger.) Cymbals.
Bedeckt' (Ger.) Stopped, as strings
opp. to leer, open.
Bedon (Fr.) Old name for drum . . .Be-
don de Bisraye, a tambourine.
Bee moll. (Obs., from Lat. B molle,
B.) Bemol, Bemol.
Beffroi (Fr,) Gong (tam-tam)., .Also,
an alarm-bell, a tocsin.
Befil'zen (Ger.) To felt (put felt on
pfte.-hammers) . . .BefFzung, felting.
Begei'sterung(Ger.) Enthusiasm, spirit.
Beglei'teii (Ger.) To accompany...
Begldt' stimmen, Beglei'tung, accompa-
niment ; accompanying parts subordi-
nate to a principal melody.
Bei'sser (Ger.) A mordent.
Bei'tb'ne (Ger.) Harmonic overtones or
undertones.. .Also, auxiliary tones.
BekielenXGer.) To furnish with quills,
as the jacks of ? harpsichord.
Beklemmt' (Ger., properly beklom'men.)
Anxious, oppressed [Beethoven],
Bele'bend (Ger.) Rawivando.
Bele'dern (Ger.) To cover with leather.
. . .Bele'derung, formerly, the leather,
now, the felt, used in covering pfte.-
hammers. ..Also, the strips of leather
covering the treble hammers.
Belegt' (Ger.) Hoarse, not clear ; veiled
(of the voice).
Bell i. (Ger. Gbctfe; Fr. cloche; It.
campa'na.) A hollow metallic instr. of
percussion, set in vibration by a, swing-
ing clapper hung within, QF by hammers
actuated from without, 2. (Ger.,
Schall'trichter; Fr. pavilion; It. pavi-
g&o'ne.} The flaring end of various
wind-instr.s.
Bell-diapason. An organ-stop, usually
of 8-foot pitch, with open bell-mouthed
pipes.
Bellez'zaXIt.) Beauty, grace.
Bell-gamba. An organ-stop having
conical pipes surmounted by a bell;
also called cone-^amba.
Bell-harp. An old variety of harp with
8 or more steel strings and enclosed in
a wooden box which the player swung
to and fro like a bell while twanging the
strings with the thumbs of both hands
inserted Inrough holes in the cover.
Bellicosamen'te (It.) In a bellicose,
martial, warlike &y\t...Bellicoso, mar-
tial, warlike.
Bell-met'ronome. A metronome with a
bell-attachment which can be set so as
to strike with every second, third,
fourth, or sixth beat of the pendulum.
Bello'nion. An instr. consisting of 24.
trumpets and 2 drums played by a me-
chanism ; inv.in 1812 at Dresden.
Btll open diapason. Same as Bell-dia-
pason.
Bellows. (Ger. Balg; Fr. soufflet ; It.
soffit? to?) The mechanical contrivance
for gathering and propelling the wind
supplying the pipes or reeds of the
organ, harmonium, concertina, bagpipe,
and the like. See Organ.
Bell-piano. See Glockenspiel (2).
Belly, i. (Ger. Deck'e; Fr. table; It.
ta'vola, pan' da.) The face (upper side)
of the resonance-box of the violin etc.
2. (Ger. Resonant' boden; Fr. rhon~
nance, table d'harmonie ; It, ta'wfa
anno'nica^ Soundboard of the pfte.
Bemol. B-flat
B&nol (Fr.), Berne-He (It.) The flat
($)... BJmoliser (bemollizza're), to flat
(set a flat before a note).
Ben, Be'ne (It,) Well ; as ben marcato,
well marked ; a bene placito, at pleasure,
ad libitum; ben ritmato, see Bien rythmfi
ben tenuto, well sustained or held.
Benedic'tus. See Mass.
Bequa'dro (It) The natural (|j).
Berceuse (Fr.) A cradle-song, lullaby ;
hence, a piece of instrumental music
imitating the eifect of a lullaby.
Ber'gamask. (Fr. bergamasquc; It.
bergama'sca.} A clownish dance in de-
risive imitation of the rustics of Ber-
gamasca in Northern Italy, (Also ber-
gomask, bwgomask.}
Bergeret'. A pastoral or rustic song or
dance. (Also bargaret, bargeret.)
Bergk'reyen, Berg^reihen (Ger/j
"Dance-tunes from the mountains;"
the title of various collections of dance-
music.
BES BIT.
Bes <Ger.) B double-flat; generally
called**.
Besai'tea (Ger.) To string, put strings
on.
Bestimmt' (Ger.) With decision, energy.
Beto'nen (Ger.) To accent, emphasize.
* . .Betonf* accented. ..Btrfnung^ accent,
stress, emphasis:
Bet'tlerleier (Ger.) Hurdy-gurdy...
Beftkr&per, Beggar's Opera.
Bewe'gfen (Ger.) To move, stir, agitate.
.'.jBrwtgtj moved ; con r?wto. . .Bevw'-
- gunr, movement, agitation (comp. Mo-
i ti0n)...Bew f gungsart J see Movement I,
Bezif fern (Ger.) To figure (as a bass).
. ...Bezif'fert, figured ,.. Bezif 'ferung,
figuring.
.Bezug' j(Ger.) All the strings of, or a
,"' set of strings for, any stringed instr.
-Btan'ca (It., "white.") A half-note .
* Voce bianca, see Vote,
Bibi{Fr.) A pianette.
Bibrev^s (Lat.) zt Pyrrhic. '
Bi'chord. i. Having 2 strings. 2. The
technical term for an instr. having a
' pair of strings, tuned in unison, for
each tone (as the mandolin, lute, and
certain pftes).
Bici'nipm (Lat.) A 2-part composition,
especially a vocal one.
Bi'fara (also biffara, bi'fra, ftffara,
pifjero)* An organ-stop, the pipes of
which are either double-mouthed or
paired ; the two' members of each pair
being tuned at slightly different pitches,
the interference of the sound-waves
produces' a gentle tremolo. (Also Ce-
Itstina, Unda marls, etc.) !
Bifari'a. Title of a Presto in 3-mea-
snre rhythm, in an Invention or Suite
ascribed to J. S. Bach.
BSn ; ga(Lat.) The " 2-necked " cither.
Bimolle (It.) Sameas&maft.
W'na. ,See Vina.
Bi'nary, Dual; two-part... Binary form,
a form of movement founded on 2 prin-
cipaJ themes (comp. Sonata), or divided
JBto 2 distinct or contrasted sections.. .
Binary measure^ that of common time,
the first of every 2 members taking the
accent ; i. e. the regular and equal alter-
nation of the down-beat and up-beat.
Bind. i. Properly, a tie (a curved line
connecting 2 notes of like. pitch, or M
enharmonically chang
written by Sterndale I
nett in bracket-form :-
and by ^^^
Morley in :
1597 thus: :
to distinguish it
from the Slur).
2. The brace
binding together the several staves of a
score.
Bin'debogen (Ger.) A slur, or a tie.
Bin'den (Ger.) ^ To bind, tie ; to con-
nect, play or sing smoothly and 'con-
nectedly (legato). . . Gebun'dtn, bound,
tied; \s%pto...Gebun'dener Stil, strict
, style of composition, in which disso-
nances are prepared (tied over). . .Also
see Gebundtn*
BinMung (Ger.) A ligature, bind, tie,
or slur ; hence, a suspension or synco-
pation ; also, the legato. . . Bin' dungs-
zeichen, a sign used to express any of
the above.
BiquaMro (It.) Same, as Bequadro.
Birn, Bir'ne (Ger.) Socket.
Bis (Lat., "twice".) I. Signifies that a
measure, passage, or section is to be re-
peated ; often written over or undef : a
slur embracing the music to be repeated.
2. Used by the French as an excla-
mation of applause ("again!"), like
the French word " encore " in English
usage. (See Bissare.) 3. The second
part, or a continuation, of a scene on
the stage ; e. g., i6 bu ; i6 ter and i6i uatw
then mean the third and fourth parts,
respectively, of such a scene.
Bis'chero (It.) Peg (tuning-peg) of a
violin, lute, etc.
Biscn/ma (It.), Biscrome (Fr.) A
i6th-note.
Bisdiapa'son. The interval of a fif-
teenth, or double-octave.
Biso'gtui(It.) "Is necessary," "must";
as si bisogna da capo al segno, must be
repeated from the beginning to the sign.
Bisqua'drd* (It.) Same as Bequadro.
Bissa'xe (It.), Bisser (Fr.) To encore.
Bisscx (Lat., " twice six " ; Ger. Zwolf-
sathr.) A kind of guitaV having.- 12
strings, of which .the 6 highest ones
could be stopped on a fretted finger-
board ; compass 3^ octaves ; invented
1770.
Bits unca (Lat, " twice hooked.' 1 ) A
sixteenth-note.
Bit. A short additional piece of tube
used to lengthen a crook in the cornet a
BIZZARRAMENTE BOMBARD.
pistons^ etc., for slightly modifying the
pitch.
Bizzarramen'te (It.) Bizarrely, whim-
sically, fantastically... Bizsarri'a, a
freak, whim, fancy, extravagance...
Bizzar'ro^-a^ bizarre, fantastic, etc.
Blanche (Fr., "white".) A half-note.
Bla'ser (Ger., "blower.") A player on
any wincUinstr.
Blas'instmment (or Bla'seimtrument)
(Ger.) Wind-instrument. . .Bla'sebalg,
bellows.
Blatt (Ger.) Reed (of a wind-instr.; also
Rohr'blatt}.. .Dop'pelblatt, double reed.
Blech'instrument (Ger.) Brass instru-
ment, metal wind-instr.
Blind (Ger.) " Blind". . .Blinde Pfeife,
dummy pipe (organ)... Blinder Doppel-
triller, a simulated r^ rl
or imperfect double -Hi- etc.
' trill ;e.g. -J$=*=
Bloch'flote, Block'flote (Ger.) i. A
small kind oijldte a bee, in vogue in
the 1 6th century. 2. An organ-stop
having pyramid-shaped flue-pipes of 2,
4, 8, or i6-foot pitch, and sometimes
stopped.
Block. In violins, etc., the blocks are
small pieces of wood within the body,
glued vertically to the ribs between
belly and back to strengthen the instr.
Blower. (Ger. Bal'gentreter, Kalkant;
Fr. soujfleur ; It. tiraman'tici.) A
person working the bellows of an organ.
B molle. See B.
' Boat-song, i. A song intentfed to be
sung in a boat, especially in time with
the oars. 2 A vocal or instrumental
composition imitative of I. (Barcarole^
Gondolier a.)
Bob. A term in change-ringing applied
to the various sets of changes which
may be rung on 6 bells (bob minor), 8
bells (bob major), ro bells (bob royal),
or 12 bells (bob maximus).
Bobisa'tion. A collective term for the
various methods proposed, during the
i6th and I7th centuries, for naming the
. ',tpnes of the scale by syllables. (See
Solmisation.)
Bocal (Fr.) , Mouthpiece of the horn,
trombone, serpent, etc. Also, the crook
of the bassoon.
Boc'ca (It.) Mouth... Conboccachiu'sa,
with closed mouth (comp. BrUmm-
stimmen).. .Bocca riden'te, "smiling:
mouth,'* the position necessary for the
production of beautiful tones.
Bocchi'no (It) Mouthpiece of a wind*
instr.
Bocedisa'tion. See Solmisation.
Bock (Ger.; dsbpol'nischer Bock, Gross-
Bock.) The bagpipe.
Bocks'triller (Ger., "goat's-trill"; Fr.
chevrotement ; It. tril'lo cafri'no.) A
trill like a goat's bleat ; the repeated
"interruption of one tone instead of the
alternation of two.
Bo'den (Ger.) Back (of violin, etc.)
Body. i. (Ger. Corpus, Schall'kasten;
Fr. coffre, corps; It. cor*po.) The re-
sonance-box of a stringed instr. 2.
That part of a wind-instr. remaining
after removing the mouthpiece, crooks,
and bell. 3. The tube of an organ-
pipe above its mouth. 4. A tone is
said to have "body" when it is full
and sonorous ; the resonance of a tone
is also called the body.
Boehm Flute. See Flute.
Bo'gen (Ger.) r. A bow. 2. A slur
or tie (Hal'tebogen, Lega' tobogen, Bin'-
debogen) . . . Bo genfliigel, piano-viojin
(Bo genhammerklavier, Bo'genklamer\
...Bo'genfuhrungt see Bowing I...
Bo'genstrich) stroke of the bow.
Bois (Fr.) Wood. . . Les bois (pi.), wood-
wind.
Bofte (Fr.) Box ; swell-box (botte tfex.
presriori). . . Ouvrez la boite y or botte ou
verti, open swell ; fermez la botte, close
swell.
Bole'ro (Span.) i. A Spanish national
dance in 3-4 time and* lively tempo (al*
legretto), in which the dancer accom-
panies his steps with castanets ; also
called Cachucha. The castanet-rhythm
1 runs as
follows :
alternating
withthenielo-l
dy-rhythm :
2, A composition in the style of a
bolero.
BonVbard. (Ger. Bom'hart, Bom'mert<
Pom'mer; Fr. bombarde; It. bombar'do^
A wind-instr. of the oboe family, with a
wooden tube and double reed ; proper-
ly f the bass instr. of the shawms, though
sometimes made as a smaller instr.
The unwieldy length of the larger
sizes led to the invention of the bas*
BOMBARDE BOYAU.
[g:
The bass o
A deep-toned reed
soon, which is a bombard with the tub
doubled upon itself, and thusshortene
by half. The bombardo'ne or contra
bombard (Ger. Bass'bomkart) was th
deepest, followed by the bass bonibar
(Bomhart), the tenor or basset-bombar
(Bassettfbomharl), and the alto or bom
bar' do piccolo.
Bombardc (Fr.) i. Bombard. 2. Po
saune 2.
Bombar'don. I. A large instr. of th
trumpet family, used as a bass in mill
tary music, and belonging, in its mod
ern forms, to the saxhorn group ; th<
usual sizes are in Ify, F, C y and contra
^j> ; but the bombardon
proper, old model, is in F,
having 3 valves and a com-
pass from contra-/ 1 to d l :
It is non-transposing. 2.
the saxhorns. 3.
stop in the organ.
Borneo (It.) A figure in repeated notes
Bonr'byx (Gk.) An ancient Greek wind.
instr., presumably with a reed.
Bon (Fr.) Good...0* temps de la
mesur^ strong beat.
Bonacg-. A Javanese instr. consisting
of gongs mounted on a frame.
Bones. A set of 4 pieces of bone, wood,
or Ivory, held pairwise between the
fingers, and used to mark time as a rat-
tling accompaniment to a dance, song,
or instrumental performance.
Book. I. (Ger. Heft; Fr. cahier; It.
R'br*.) A part of a series of songs, ex-
ercises, etc., under a separate paper
.cover. 2. The words (libretto) of an
opera, oratorio, etc.
Boot. The foot of a reed-pipe (organ).
Bordnn' (Ger.) Bourdon. (The 2 free
strings on either side of the fingerboard
of the hurdy-gurdy, that kept up a con-
tinual humming, were called Bordune;
bordunus occurs as the name of the
bass strings stretched beside the finger-
board of the ancient viella.)
Boiiche (Fr,) Mouth ; 4 bouche fermte,
witL closed mouth (comp. Brumm-
sfimmen).
BoncheXe) (Fr.) Muted (of wind-instr.s) ;
stopped (of organ-pipes).
Bouffe (Fr.) Same as Buffo... Optra
loujfe* comic opera.
Bourdon. (Fr.) i. A drone bass. 2.
An organ-stop of 16 or 32-foot pitch,
having stopped wooden pipes, some*
times with metallic tops ; tone usually
hollow or " fluty'," i. e. deficient in har-
monics. The French also have open
bourdons of 8 and 4-foot pitch (bour-
dons de huit^ de quatre ouverts). 3,
In French usage, the lowest string of
the 'cello and double-bass; also, a
great bell, as the bourdon of Notre*
Dame. . .Faux-bourdon^ see Faburden*
Bounce (Fr.) i. A dance of either
French or Spanish origin, from Au-
vergne or Biscaya, in rapid tempo, con-
sisting of 2 parts of 8 measures each
and in 4-4 or 2-4 time. 2. A move-
ment in the earlier Suites, in alia brem
time.
Boutade (Fr.) I. A short ballet per-
formed, as it were, impromptu. 2.
An instrumental impromptu or fantasia.
3. An old French spectacular dance.
Bow. (Ger. Bo' gen; Fr. archet; It. ar'co^
An implement originally curved out-
ward, though now slightly inward,
consisting of an elastic wooden rod
(the sticfy, and of from 175 to 250-horse-
hairs [GROVE] (the hair) attached to the
bent point or head, and drawn into
proper tension by the sliding nut, which
is actuated by the sc'rew. (Schuster &
Otto, Markneukirchen, have recently
[1893] manufactured bows with fint
gut threads in lieu of hairs.) After
rubbing the hair with rosin, the bow is
drawn across the strings (of the violin,
bow-zither, etc.), setting them in vibra- "
tion ; the vibration is communicated to
the resonance-box, which latter reinfor-
ces the weak torie of the strings. . .Bow-
arm Gt-hand, the right arm or hand.. .
Bow-guitar (It. chitar'ra coll' arco)^
a species of violin with a guitar-shaped
body, . . Bow-clavier ) Bow-harp sichord^
see Piano-violin . . . Bow-instrument^
one played with the aid of a bow, as
the violin or bow-zither... Bow-zither ^
see Zither.
Bow (verb.) i. To execute with a bow.
2. To mark (a passage or. piece)
with signs indicating the bowing.
Bowing, i. (Ger. Bo' genfuhrung^
The art of handling the bow ; the style
or method of a player, " his bowing
as shown in his management of the
bow." 2. (Ger. Strich'art^ The
method of, and signs for, executing any
given passage;' "the bowing of the
passage."
Boyau (Fr.) Gut ; hence, gut string.
BOZZETTO-BRIO.
Bozzetto (It.) Sketch.
B quadra'tum, B qua'drum.
Brabanfonne. The Belgian national
hymn.
Brac'cio (It.) The arm... Viola da
braccio, see Viola.
Brace. I. (Ger. Klam'mer; Fr. ac-
colade; It; graf'pa.) A bracket con-
necting the heads of 2 or more staves.
2. One of the leathern slides on the
cords of a side-drum.
Branle, Bransle (Fr.) A brangle or
brawl; an old French dance in 4-4
time, in which several persons joined
hands and took the lead in turn. Branle
was the generic name of all dances in
which, like the Cotillon or Grossvater,
one or two dancers led the rest, who
imitated all the evolutions of their
leaders. (Also Brantle.)
Brass-band. See Band 2 ; distinguished
from full military band by omission of
reed-instr.s . . . Brass-wind, collective
term for the players on metal wind-
instr.s in an orchestra.
Bra'tsche (Ger.) The tenor violin (comp.
Viola).
Bra'vo (It., masc. adj., pi. bravi; fern.
brava, pi. brave.) Used as an inter-
jection, signifying "well done I" and
the like ; superlative bravissimo^a^ etc.
Bravour' (Ger.) See Bravura... Bra-
vour'arie, aria di bravura... Bravour*-
st&ck) a vocal or instrumental piece of
a brilliant and florid character.
Bravoure (Fr.) See Bravura. . . Valse de
bravoure, an instrumental waltz of a
brilliant, showy character.
Brayu'ra (It.) Boldness, spirit, dash,
brilliancy... A'ria di bravura, a vocal
solo consisting of difficult runs and pas-
sages, designed to show off the singer's
voice or skill.,. Con bravura, with
boldness, etc.
Brawl. See Branle.
Break, i. The point at which one
register of a voice or instr. passes
over into another ; in the voice, the
junction of the head- and
chest-registers ; in the
clarinet, between the notes :
...Breaking of voice, see Mutation.
2. A false or imperfect tone produced
by incorrect lipping of a horn or trum-
pet ; or by some difficulty with the reed
of the clarinet (the "goose"); or, in
Singing, by some defect in the vocal
organs. 3. In an organ-stop, when
playing up the scale, the sudden return
(caused by an incomplete number of
pipes) to the lower octave ; also, in com-
pound stops, any point in their scale
where the relative pitch of the pipes is
changed.
Breakdown. A negro dance (U. S.) of
a noisy, lively character.
Breathing-mark. A sign set above a
vocal part to show that the singer may
(or must) take breath at that place ;
written variously (', *, i/, V, //).
Breit (Ger.) Broad, stately, slow.
Brett'geige (Gen; also Sack'geige, Spitz*-
violgeige t Stoctfgeige, Taf schengtige.)
A. Kit.
Breve. I. (Lat. and Ger. Brev'is; Fr.
breve; It. bre've.) A note equivalent
to 2 whole notes or semibreves ; the long-
est employed in modern - bj ^ ^ p-
music. It is written thus : - M .O .EsE
2. Iff medieval music, a note having |
or J the time-value of the longa (comp.
Mensurable music)... Alia breve (It),
(a) originally, a time of 4 minims (= I
breve) to the measure ; time-signature
(jD > later C|0 9 this is 2-1 or great
* alia breve time, (b) Now, 4-4 time
with 2 beats instead of 4 to the measure,
and in quicker tempo ; time-signature
; also called alia cafpellaj opp. to
Tempo ordinario I.
Brev'is(Lat) A breve.
Bridge. (Ger. Steg; Fr. chevalet; It.
ponticeflo.) r. In bow-instr.s, a thin,
arching piece of wood set upright on the
belly to raise and stretch the strings
above the resonance-box, and to com-
municate to it their vibrations, whict
the bridge also cuts off from the rear
ends of the strings. 2. In the pfte,
and other stringed instr.s, a strip or rail
of wood or metal over which the strings
are stretched,
Briei Obsolete for Breve.
Brillant,-e (Fr.), Brillan'te (It.) Bril-
liant, showy, sparkling.
Brinenbasse(Ger.) "Spectacle-basses,"
familiar term for the abbreviated nota-
tion of alternating
eighth-notes or i6th-
n6tes, e. g.
BrinMisi (It.) Drinking-song, some*
times in style otjodler.
Bifo (It.) Vivacity, spirit, fire...G?/f
3*~
BRISE BURLESQUE.
brio, or brio' so, with fire and vivacity,
spiritedly.
Brise>e (Fr.) Broken (as chords)...
Cadence bris/e, a grace consisting of a
short trill beginning on the higher aux-
iliary note :
Broderies (Fr., pi.) Ornaments, embel-
lishments.
Broken cadence. See Cadence. . . Brok-
en chords, chords the tones of which
are sounded in succession instead of
together (see Arpeggio). . . Broken music,
music for the harp, guitar, and other
instr.s on which the chords are generally
arpeggio'd or broken.. .Broken octaves,
series of octaves in which the higher
tones alternate with the lower, thus :
iiil
B rotnn'dum. See B.
Brumm / eisett(Ger.) Ajew's-harp (usu-
ally Maut trommel).
Brum'mer (Ger.) Drone.
Brumm'stimmen (Ger.) " Humming
voices"; production of tone without
words, through the nose, with closed
mouth (a boSca chiu'sa) ; a not infre-
quent effect in male quartets, especially
as an accomp. to a solo part.
Brumm'toa (Ger.) Drone.
Bruscanien'te (It.) "Brusquely" or
forcibly accented.
Brust (Gen) Breast; chest.. Brustf-
stimme> chest-voice. . .Brusfton> chest-
tone. . *Brus?'werk, (usually) the pipes
of the swell-organ or choir-organ as set
up together in the middle of the instr.
Ba'ca (It.) Sound-hole of lute, mando-
Hn, etc,
Bucci'na(Lat) Either a curved trumpet,
origjnally the horn of an ox; or a
straight trumpet (tuba), the prototype
of the trombone or posaune.
Buccolfova (It), Bucoliqne (Fr.)
Bucdic, pastoral, rustic.
BSch'se (Ger.) Boot (of a small reed-
ppe in the organ) ; also Hose.
Bncli'stabentonschrift (Gen) Alpha-
betical notation.
Bufe're (It.) To play the wag or buf-
- loon, to jest, trifle.
Buffet (Fr.) Organ-case, or case of any
partial organ. . .Buffet d'orgues, a smafi
organ complete, its case and all within.
Buf'fo,-a (It.) Comic, humorous ; hence
Buffo, Bu/o-singer, the comic actor in*.
an opera ; a comic singer.. .Aria buff a,
comic air or aria. . . Opera buffa, comic
opera.. .Buff one, comic opera-singer.
Buffone'scora (It.) Droll, ludicrous.. .
Buffonescamen'te, drolly, etc.
Bugle, Bugle-horn. (Ger.) Bu'gelhorn,
Flil'gelhoni; Fr, bugle; It. trom'ba.)
I. A wind-instr. of brass or copper,
with cupped mouthpiece, used for in-
fantry calls and signals, having 7 har :
monic tones :
and made in various pitches (2fy y C,
jt>). 2. The key-bugle (Kent bugle,
Regent's bugle) (Ger. Bugelhorn mil
Klappen; Fr. bugle a eMs) ; it has 6
keys and jfc ; inv. by Halli-
a compass [ ^ . / day ^ n I ^ I 5-
, of over 2 W, Jf E 3. Valve-bugle
octaves: ^ *** (see Saxhorn*).
Biih'nenweihfestspiel (Ger.) "Stage-
consecrating festival play ; " the epithet
bestowed by Wagner on Parsifal, his
last musical drama.
Bund (Ger.) A space between frets, on
a fretted fingerboard. \Bund is used
as effectively synonymous with/rrfy e.
g., Bund i. means ist fret, the string
being stopped on the fret by pressure
in the space just behind it],. .Bundfrei
(" unfretted," i. e. not spaced off by 2
or more frets or tangents), a term desig-
nating a clavichord in which each key
had its own string ; opp. to gebunden.
Buonaccor'do (It.) A small spinet with
narrow keys, for children.
Buo'no,-a[boo-6'no] (It.) Good...Bu^na
nota, an accented note (one on a strong
beat); buon gusto, good taste... JBuo-
namen'te, well, accurately.
Burden, i. A refrain or chorus recur-
ring after each stanza of a song. 2.
The jdrone of' the bagpipe.3'. The
Bur'la (It) A joke, jest...
joking, jesting, romping... Burls' sea,
a burlesque... Burlefsco,-a, burlesque,
farcical, comic*. -Burlescamen'te, in bur-
lesque style.
Burlesque. QLfarlfita.) A dramatic
BURLETTA-CADENCE.
extravaganza, or farcical travesty of
some serious drama or subject, with
more or less music.
Burlet'ta (It.) A comical operetta or
musical farce.
Busain (Busaun, Buzain). A reed-stop
in the organ, generally of i6-foot tone,
and on the pedal.
Button, i. A small round disk of leath-
er screwed on the tapped wire of a
tracker to keep it in place. 2. A key
of the accordion, etc. 3. The round
knob it the base of the violin, etc.
Bux'eatib'ia, Bux / us(Lat.) An ancient
Dox-wood flute with 3 finger-holes, re-
sembling the Phrygian flute.
c.
C. I. (Ger. C; Fr. ut; It. do.) ,The
first tone, ist degree, or key-note of the
typical diatonic scale of C-major. (Com-
pare Alphabetical notation, and Sol-
misation.}.. . . j) on the pfte.-
- Middle- C, the [(fry-- -- keyboard; Ten-
note c l > ^f &- or C is small c.
2. Abbr. for Capo (D. C.=da capo);
Cantus, Canto (c. f. = cantus firmus or
canto fermo); Col (c.B.=col basso, c.
8va = coll'ottava); C.-B. (Cb.) ;= con-
trabbasso.
Cabalet'ta (It.) A song in rondo-form,
with variations, often having a triplet
accomp. imitating the hoofbeats of a
cantering horse.
Cabinet d'orgue (Fr.) Organ-case.
Cabinet organ. See Reed-organ.
Cabinet pianoforte. An old style of
upright pfte.; a grand pfte. set on end.
Cabis'cola (Lat.) Precentor, of a choir,
Cac'cla (It.) The chase ; a hunt.. .Alia
c., in the hunting style (i. e. accompan-
ied by horns).
Cache*e (Fr.) Hidden, concealed, cov-
ered ; said of fifths and octaves.
Cachu'cha (Sp.) A dance similar to the
Bolero.
Cacoph'ony, (Fr. cacophonie; It. caco.
foni'a.) Discord ; harsh or discordant -
music.
Cadence. (Ger. Kadentf; Fr. cadence;
It caden'za.) I, See Cadenza. 2. The
measure or pulsation of a rhythmical
movement. 3. (a) In general, the
closing strains of a melody or harmon-
ic movement, (b) Specifically, an har-
nlonic formula (i. e. succession of chords)
leading t6 a momentary of complete
musical repose ; the close or ending 6f
a phrase, section, or movement. . .Amen
c., popular term for plagal , to which
the word amen is of ten sung. , .Authen-
tic c., see Perfectt... A voided, Broken,
Deceptive, or False c., see Interrupted
c... Complete c., a perfect c>. .Haffaa-
dence (half -close), or Imperfect c r \ the
chord of the tonic followed by that
of the dominant.. .Interrupted*., an
unexpected progression avoiding some
regular cadence.. .Irregular ., an in-
terrupted c... Medial c., in ancient
. church-music, one in which the mediant
was peculiarly prominent... Mixed c.,.
that formed by the succession of the
subdominant, -dominant, and teriic
chords, it thus being 'a tf mixture" of
the authentic and plagal cadences...
Perfect c., the dominant triad or chord
of the 7th followed by the tonic chord ;
the, authentic cadence of, the ecclesias-
tical modes. . . Plagal c., that formed by
the chord of the subdominant followed
by the tonic chord ; opp. to authentic c+ . .
Surprise c., an interrupted c.. .Radical
c., a close, either partial or complete,/
, formed with two fundamental chords: . .
j Whole c., a perfect c. A few examples
are given below :
Authentic.
Plagal. Interrupted, Mixed.
Cadence (Fr.) I. A cadence 2 and 3,
2, A trill (as c. brillante. c.perlte). C.
briste, see Brisk,.. C. tvitee, avoided
cadence. , . C, imparfaite (or sur la domi-
nante], half-cadence. . . C, i
interrupted cadence,., C 1 .
half-cadence... C. parfaite (or sur la
tonique)^ perfect cadence. .. C. plagale^
plagal cadence... C. pkine, (a\ a trill
preceded 'by the higher auxiliary as ; a
34
CADENT CANON.
long appoggiatura ; (ft) the progression
from a dissonant chord to a consonan
one.. .C. romput, broken cadence.
Cadent. An obsolete grace (see Grace]
Cadenz (Ger.) See Kadenz*
Caden'za. I. A brilliant passage in
vocal solo, usually at its conclusion
having the effect of an 'extemporiza
tion, but commonly prepared before
hand. As an interpolation on the
singer's part, such c. s are no longer in
vogue. 2. An elaborate and florid pas
sage or fantasia introduced in, 'and in
terrupting, the closing cadence of the
first or last movement of a concerto
the orchestral accomp. generally pauses
after a hold on the \ chord of the tonic
leaving the field clear for the perform-
ance, by the solo instr., of the cadenza
This is either a more or less original
effort of the soloist, or a supplementary
passage written out by the composer
himself or some other musician. Such
cadenzas are for the most part built up
of themes or reminiscences from the
work to which they are appended, an<i
are always calculated to display the
soloist's proficiency in the most brilliant
light.
Caden'za (It) A cadence. . . C.fin'ta or
d'injran'no^ a deceptive cadence... C.
fantu'ra, an ornamented cadence.
Caesura. See Cesura*
Caisse (Fr.) A drum,.. flate, the
shallower side-drum... C roulante,
drum with wooden cylinder, that of the
ordinary caisse being of copper.. . Grosse
c. t bass drum (also Gros-tambour).
Calamellus. See Calamus.
Calamus (Lat) A reed-flute or reed-
pipe (chalumeau ; shawm). . . C.pastoraf-
Ks, or tibia' Us, a very ancient wood-
wind instr., a reed with 3 or 4 finger-
holes.
Calan'do (It.) Decreasing. An expres-
sion-mark denoting a decrease in loud-
ness, usually coupled with a slackening
of the tempo.
Caiandro'ne (It.) A small variety of
chalumeau or clarinet, a favorite among
the Italian peasantry.
Calascio'ne (It) A variety of lute or
guitar with fretted fingerboard, and 2
gut strings, tuned a fifth apart and
twanged with a plectrum; found in
Jpwer Italy.
Cala'ta (It.) A lively Italian dance in
2-4 time.
Calcan'do (It.) Hastening the tempo,
Calichon (Fr.) Calascione.
Calisonci'no (It.) Calascione.
Call. A signal given by the fife > bugle
or drum, calling soldiers to some spe-
cial duty.
Calli'ope (also Kalli'ope). A steam-
organ ; a species of pipe-organ having
a harsh tone produced by steam under
pressure instead of wind.
Callithum'pian concert. (Ger. Jfatz'-
enmusik; Fr. charivari; It. chias'so^
scampana'ta?) A boisterous serenade
given to some person who has become
an object of popular hostility or ridi-
cule ; characterized by the blowing of
horns, beating on tin pans, derisive
cries, groans, hoots, cat-calls, etc.
Cal'ma (It) Calm, tranquillity... CW.
man' 'do , calm, growing quieter. . . Csl-
ma'to, calmed, tranquilized.
Calo're (It,) Warmth, passion ; con c.,
with warmth, etc. . . Caloro'so, warmly,
passionately.
Cambia're (It.) To alter, change...
Nota camlia'ta, changing-note.
amera (It.) Chamber, room. . Mu'sica
die., chamber-music... Sonata di c^
chamber-sonata.. .Alia c., in the style of
chamber-music.
Camminan'do (It.) " Walking," mov-
ing, flowing. (See Andante.)
Campa'na(It) A bell; in eccles. usage,
a church-belL. . Campanel'lo,-a, a small
bell.. .Camfanelli'no^ a very small belL
. . Campani'sta, a bell-ringer.
Campanefta (It.) See Glockenspiel.
Campanology. Theory of the con-
struction and use of bells.
Canarder (Fr.) To produce a * l couac "
on the clarinet or oboe.
, Canary /It Cana'rio).
A lively dance of French or English
origin, the melody being in 6-8 or 4-4
time and having 2 phrases.
Cancel. See Natural i.
Cancrizans (Lat.) Retrogressive/ (It '
cancrizzamen'U^ cancrizzan'te^
Can'na (It) Agreed or pipe...Gwww
d'a'niniat flue-pipes ; canne a lin'gua^
reed-pipes.
Canon. (Ger. Xa'non; Fr. canon; It
ca'none.\ i. The strictest form of
CANONE-CANTICLE.
mus. imitation, in which two or more
parts take up in succession exactly the
same subject. The part taking the
lead is called the antecedent^ and the
following part the consequent.. Canons
are now usually written out in full, but
during the high tide of medieval counter-
point it was customary to write only the
antecedent; and to mark the successive
entrances of the other parts by signs or
merely by mysterious superscriptions
(enigma tical canons) ; the superscription
was then called the canon (i. e. rule, di-
rection), while the composition was
called the fu'ga, or conseguen'za.Az-
cording to the interval from the ante-
cedent at which the consequent enters,
the canon is called a C. in unison (the
consequent taking the very same notes
as the antecedent, but of course enter-
ing later) ; C. at the octave (the conse-
quent entering an octave above or be-
low); C. at the fifth, fourth, etc. The
c. could also be varied, like the fugue,
by the diminution or augmentation of
the theme, by in version or retrogression,
etc. (Comp. Fugue.) When the parts
entered at the time-interval of a minim
one after the other, the canon was
called a fuga adminimam. 2. Ancient
Greek name for the Monochord.
Ca'none (It) A canon.. . C. aper'to, an
14 open" canon, i. e. one written out in
full. . . C. cancrizzan'te, canon by retro-
gression.. , C. chiu'so, a " close " canon,
in which only the leading part is written
out in full ; an enigmatical canon. . . C.
enigma'tico, enigmatical canon (see
Canon), . . C. infini'to or perpe'tuo, an
infinite canon ; one which, without a
specially added close, can be sung on
for ever. , . C* sdolfto^ a canon in free
imitation.
Canonical hours. The 7 canonical
hours of the R. C.- Church are the
established times for daily prayer;
"called matins (incl. nocturns and lauds) ,
prime, terce, sext t nones, vespers, and
complin. Those from prime to nones
are named after the hours of the day,
prime (the first hour) being at or about
6 A. ML, terce (the third) at 9, sext (the
sixth) at noon, and n'ones (the ninth) at
3P.M.
Cano'nici. See ffarmonici.
Canonic imitation, strict imitation of
one part by another (see Canon).
Cantat>ile (It.) In a singing or vocal
style. Where a passage is so marked, ^
the leading melody should stand out
well from the accorap., and the general
effect should be free and flowing,
Cantamen'to (It.) Same as Cantilena,
Canto,
Cantan'do (It.) See Cantabik.
Cantan'te (It.) A singer ; also, singing-,
^y.
Canta're (It.) To sing. ..C.a atria, to
sing with more or less improvisation.. .
C. a oreSchiO) to sing by ear. . . C. di
manie f ra or maniera'ta, to sing in a
florid or ornamental style.
Cantata (It.) Originally, a vocal piece,
as opp. to an instrumental one, or
sonata. But cantata has come, like
sonata, to mean a definite form of com-
position, with the difference, that all
earlier forms once called cantate must
still be taken into account in defining
the word cantata, whereas no one
would now think of calling a short and
simple prelude a sonata. In modern
usage, a cantata is a more or less ex-
tended vocal work with instrumental
accomp., consisting of chorus and solos,
recitative, duets, etc.; distinguished
from the oratorio and opera by the ex-
elusion of scenic effects and the epic
and dramatic element ; though the lat-
ter can, of course, not be entirely ex-
cluded, as even the purest lyrical
emotion may often be intensified to
dramatic pathos. In the sacred cantata.
this form of composition finds its finest
and most unequivocal expression.
Cantatil'la, Cantati'na (It.) A short
cantata. (Fr. cantatille.)
Cantato're (It.) A male singer; Canto,
tri'ce, a female singer.
Cantato'rium (Lat.) A music-book,
book of song ; a service-book of the R.
C. Church containing the music of the
Antiphonary and Gradual.
Canterellan'do (It.) Singing softly;
trilling, warbling ; from canterella're* to
hum, etc.
Canticle (Lat. can'ticum; Ger. Lob'ge-
sang; Fr. cantique ; It. can*tico,) I.
One of the non-metrical hymns of
praise and jubilation in the Bible, 2
A sacred chant based on or similar to
I. The Evangelical canticles (Cantica
majora) of both the Catholic and An-
glican church are taken from the Gos-
pels, and embrace the Magnificat
(" Magnificat anima mea"), the Bene-
dictus *" lenedictus doininus deus Is-
CANT1 Or-CAPRICCIETTO.
reel "), and tihe Nunc dimittis ( u Nunc
dimittisservumtuum"). The 7 Cantica
minora are taken from various parts of
the Old Testament,
Cantico (It) See Canticum.
Can'ticam (Lat) r. In the ancient
Roman drama, any passage sung by
the actors, 2. A canticle. Can'tica
gra'duum, the Gradual. . . Canticum Can-
tico'rum, Solomon's Song.
Canttle'aa (It, "a little song' 1 ; Ger.
Cantilene; Fr. cantilene.) I, In me-
dieval music, a solfeggio ; also, a can-
tus firmus as used in church-music,
2. Formerly, the higher or solo part of
a madrigal ; also, a small cantata or
short vocal solo. In modern usage,
a ballad or light popular song ; also, in
instrumental music, a flowing melodious
phrase of a vocal character ; often used
to define a smooth and voice-like ren-
dering of slow melodic passages.
Cantiienac'cia (It) A vile song.
Cantitena're(It) To sing in a low voice.
Cantilla'tio (Lat) See Intonation i.
Canti'no (It.) Same as Chanterelle.
Caa'tio (Lat) A song, an air.
Cantique (Fr.) A canticle; also, a
choral, or hymn-tune,
Can'to lit.) i. The soprano ; the high-
est vocal or instrumental part.. . Col c.
sameas0IfaJ>arte.-~2. See Cantino.
3. A' melody, song, chant. C. a cap-
fella, same as Cappella, a...C. Ambro-
sia' no, Ambrosian chant. . . armo'nico,
a part-song. , . . cromqftico^ a melody
. m chromatic style... C. fer'mo, see
Cantus firmus... C. figura'to, figurate
melody. , . C. Gregoria'no t Gregorian
chant... C. pkfno, plain chant..
pri'mo, first soprano... recitati'w,
recitative or declamatory singing. . . C.
riptfno, see Ripieno. 'C. secon'do, sec-
ond soprano.
Can'tor I. (Lat.) A singer, a precentor.
. . C. choraflis, chorus-master. 2. (Ger.)
See Kanior (on p. 238).
Ganto're (It) A singer ; a chorister.
see Dur. . . C. ecclesiastuus^ (a) church-
music in general ; (b) plain song ; (c)
the musical rendering of a liturgy, opp.
to merely reading 1t...C. fgura'lis,
mensurable music. . . C. figura'tus, a
melody with a florid or figurate contra-
puntal accomp. . . C. fir*mus, a fixed or
; given melody ; (a) plain song ; (b) in
modern counterpoint, a given melody,
usually in imitation of a, to which other
parts are to be set according to rule. . .
Cfrac'tus, a broken melody; a term
applied to a tune which proceeded
either by perfect or imperfect conso-
nances. When accomp. by a faux bour-
don, it was called Cantus corona' tus.
[STAINER AND BARRETT.]... C. Grego-
ria'nuS) Gregorian chant. . . C. mensura-
bilis, see Notation, 3 . . . C. mol'lis, see
Moll . . C. natura'lis, see Mutation. . .
C. pla'nus^ plain song.
Canun 7 ,
Caatp'ris (Lat, " of the cantor.") Term
otesignating the side of a cathedral choir
oa -which the precentor (cantor) sits, i,
e., on the left or north side of a person
feeing the altar ; opp. to the decaf ni
("of the dean") side.
Canons (Lat) A song, a melody, . . C.
c*rona'tu$> see frartus...C. dzS
Canzone (It., also Canzcfna.) Origi-
nally, a folk-song (Fr. chanson] ; later,
a secular part-song in popular style,
hence the Canzo'ni Napolita'ni, Sid-
liofni, etc. ; many such songs closely re-
semble the. madrigal. The name was
sometimes applied 1 - to instrumental
pieces in madrigal style. Camonac'eia,
a vulgar song. . . Canzond-na, Canzonet-
ta, a little song, a canzonet. . . Canzonie*-
re, a collection of lyric poems or songs.
Canzonet(te). t A little air or song; a
short part-song ; a madrigal.
Capelle (Ger,) See K.
Ca x po (It.) The head; beginning, . .Da
capo, from the beginning.. . Capolavoro,
master-work. . . Capo-orchestra^ conduc-
tor.
Capodastre (Fr.) See Capotasto.
Capota'sto (It.; also capo di lash,
" head of the fingerboard.") I. The nut
of stringed instr.s having a fingerboard.
2. A piece of wood or ivory which can
be fastened across a fretted fingerboard,
like that of the guitar, to raise the pitch
of all the strings at once. Sometimes
written, in Engl. usage, Capo astro.
Cappel'la (It, " chapel") i. A choir.
An orchestra. (Incorrectly
ten #<?/&.)... X cappella, vocal chorus
without instrumental accomp.. .Alia c.,
(a) same as a cappella; (b) see AB&
breve... Da c., in church-style, i. e. ia
a solemn and devotional manner.
Capricciet'to (It.) A little capriccio.
CAPRICCIO CAVATINA.
Capric'cio (It.) Title frequently given
to instrumental pieces of free, uncon-
ventional form, and distinguished by
originality in harmony and rhythm,
(Compare Scherzo.)... A capricdo, at
pleasure, ad libitum. .. Capricciosamen'te,
capriciously, fantastically.. , Capriccio'so,
capricious, fantastic ; a capriccio.
Caprice (Fr.) Capriccio.
Carat'tere (It.) Character, dignity;
style, quality.
Caressant (Fr.) \
Carezzan'do(It) Care^ngly, sooth-
Carezze'vole (It.) ) * y *
Carica'to (It.) Overloaded as to graces,
chromatics, peculiarities of instrumen-
tation, or other means of mus, expres-
sion.
Carillon (Fr.) i. A set of bells differing
from those of a chime in being fixed,
and in their greater number ; played
either by hand (on a keyboard) or
machinery (on the principle of the
cylinder in the barrel-organ). 2. A
bell-piano, with pfte. -keyboard, and
bells instead of strings. 3. A melody
to be played on I. 4. An instrumental
piece imitating the peculiar character
of carillon-music. 5. The "clashing"
(ringing al! at once) of several large
bells. 6. See Glockenspiel. 7. A mix-
ture-stop yielding the 3rd, 5th, and 8th
partials of the fundamental represented
by the digital pressed fc 1 g*-e*-c*).
Carillonneur (Fr.) A performer on the
carillon.
Carita' (It.) Lit. "charity."' Same as
Afetto.
Carmagnole (Fr.) A dance and song
in great vogue during the Reign of
Terror ; it dates from the taking (1792)
of Carmagnola, a town in Piedmont,
though the connection between the town
- and the air is not clearly established.
Carol I. A circle-dance (obs.) 2. A
joyous song or ballad, particularly one
celebrating Christmas.
Caro'la (It.) A circle-dance similar to
the carmagnole.
Carrie (Fr.) A breve.
Cartelle (Fr.) A large leaf (for writing)
of prepared ass's-skin, on which the
lines of the staff are traced to jot down
notes while composing, the notes being
afterwards erased with a sponge. All
cartelles come from Rome or Naples.
. [ROUSSEAU.]
Ca'rynx (Gk.) An ancient Greek trumpet
Cas'sa (It.) A bass drum, (Also cassa
gran'de.)...C. armonica^ , body (of
violin, etc.)
Cassation' (Ger.) SeeJT.
Castanets. (It. castagnefte; Fr. casta-
gnettes; Ger. Kastagnetten; from Span, '
eostanetas^ A pair of small concave
pieces of hard wood or ivory, each hav T
ing a projection on one side, by means
of which they are fastened 'together
with a cord long enough also to pass
over the performer's thumb, or thumb
and forefinger. Generally used (espe-
cially in Spain) by dancers as a dan,ce-
accomp. They yield no mus. tone,
but merely a hollow click or rattle.
Castra'to (It.) A eunuch (adult male
singer with soprano or alto voice).
Catalectic. Lacking part of the last
foot ; e. g. the second of the following
lines is catalectic :
Lives of great men all remind us
' We can make our lives sublime.
(_w|_w|-^l-w|j_w|~^I-w]-.A) '
Catch. Originally, an unaccomp. round
for 3 or more voices, written as a con-
tinuous melody, and not in score ; the
' ' catch " was for each succeeding singer
to take up or catch his part at the right
time. Later, a new element was intro--
duced, and words were selected in such
sequence that it was possible, either by
mispronunciation or by interweaving
the words and phrases apportioned to
the different voices, to produce the
most ludicrous and comical effects.
Catena di tril'li (It) A chain of trills. .
Catgut, Popular term forGutsfringsfa.v.)
Catlings. Lute-strings of the smallest size,
Catti'vo (It, "bad.") Cattivo tempo,
the weak beat,
Cau'da (Lat, " tail.") The stem of a
note.
Cavallet'to (It., " little horse.") 1. A..
bridge (usually ponticello}. 2. The
break in the voice.
Cavalquet (Fr.) A piece played by a
cavalry trumpeter-corps when approach-
ing or marching through a town.
Cava'ta (It.) I. Production of tone.
2. Cavatina 3, Stroke (of a bow).
Cavati'na (It.) i. A short song of any
description. 2. A vocal air, shorter
and simpler than the aria, and in one
division, without La capo.-~$. Title
C BARR&-CHAMBER-MUSIC.
given by Beethoven to the 2nd move-
ment of his By Quartet.
C barre* (Fr.) The "barred 0" jj) f
indicating alia breve time.
C-de See Or/
CebelL A theme for variation on the
lute or violin, in 4-4 time and 4-measure
phrases, characterized by the alternation
of very high and low notes in the suc-
cessive- strains. (Obs.)
C6diium (Fr.) A free-reed keyboard
instr. inv. by Quantin de Crousard, ex-
hibited at Paris in 1867. It has the
shape and nearly the size of the 'cello,
and is held in the same way. The keys
are pressed By the left hand, while the
right operates the bellows by means of
a handle like a bow. Compass about 5
octaves ; tone sweet and sonorous.
Ce*dez (Fr.) Go slower ; rallentate.
Cclamustel (Fr.) A kind of reed-organ
having fundamental stops similar to
those of the harmonium, and various
additional effects, such as bells, harp,
echo, thunder, dove- and cuckoo-notes,
etc.
Celere (It) Rapid, swift... CihriW,
celerity, rapidity; con celerita, with
celerity, etc.
Celeste (Fr., " celestial, divine".)/**
&, /&& c.j organ-stops producing a
sweet, veiled tone ; Piddle c. is also a
pedal-mechanism on the pfte. for ob-
taining a sweet, veiled tone.. , Voixc.,
the organ-stop vox angelica*
*Cello,-i Abbr. of tfWfoi/&,-i
Cembal d'amour (Fr.) A species of
clavichord, twice as long as the ordi-
nary mstr.s, the^ strings of which were
struck in the middle by the tangents,
the vibration of both sections of the
string thus yielding a double volume
of tone ; inv. by G. Silbermann, 1st
half of i8th ceatury.
Cembalist. (It cmta&sfo.) A player
on the cembalo (either harpsichord or
pfte.)
CenVbalo (It) i. Originally, a dul-
cimer; a general, name for various
instr.s having several wire strings struck
by hammers. 2. A harpsichord. 3. A
pianoforte.. .A cembalo, for harpsichord
(or pfte.).. . T-utto il cembalo, see Tutte
cordf^ , Cembalo onnicor'do, a keyboard
stringed mstr. inv, by Nigetti about
1650; also called Proteus,
Cembanel'la, Cennamel'la (It) A
pipe or flute.
Cen'to (It.), Centon (Fr.) i. The anti-
phonary of Pope Gregory the Great. 2.
(Also cento' ne, "a patchwork".) A
medley of extracts from the works of one
composer, worked up into an opera or
similar composition. (Pasticcio.) Hence
the verb centoniza're (Fr, centoniser},
meaning *' to put together."
Cereal la no'ta (It.) To seek the note ;
i. e. to sing in the same breath the tone
belonging to the next syllable like a
light grace-note, before its proper time
of entrance, in portamento style ; e. g,
written : sung :
Cervalet', Cenrelat'. Species of clari.
net with bassoon-like tone (obs.)
Ces (Ger.) Cb-.-Cr/w, Cbb-
Cesu'ra, Ca&su'ra. A term in prosody
sometimes used in music to designate
the dividing line between two melodic
tnd rhythmic phrases within a period ;
called masculine or feminine according
as it occurs after a strong or a weak
beat.
Ce'tera or Ce'tra (It.) A cither... C.
tedefscaS 1 German cither," a 10-stringed
instr. of the lute class.
Chaconne', Chacone'. (It.ciacco'na ;
Span, chaco'na; Fr. chaconne.) i.
Originally, a Spanish or Moorish (pos-
sibly Italian) dance or sarabande. 2.
An instrumental composition consisting
of a series of variations, above aground
bass not over 8 measures in length, in
3-4 time and slow tempo. ' (See Pass*.
caglia.)
Chair-organ. Variant of Choir-organ.
Chalameau. Variant of Ckalumeau.
Chalil. Ancient Hebrew instr., either I
flute (flageolet) or reed-pipe.
Chalumeau (Fr.; Engl. chalameau;
Ger. Chalumau, Ckalamaus ; It scia.
lumb, salmfo i. 'See Shawm, Clari-
net.- 2. The "chalumeau" register
is the lowest register of the clarinet
and^ basset-horn ; as a direction in
clarinet-playing, chalumeau signifies
play an octave lower/ '3. (In
French usage.) The chanter of the bag-
pipe ; also, occasional for Pan's-pipe.
Chamber-music. Vopal or instrumental
CHAMBER-ORGAN-CHARACTER.
t
In organ-music, signifies " change
hands on chord ".
In pfte.-music, signifies " hold chord
with pedal".
SignaThorn (Ger.) A bugle.
Signature. The signs set at the head of
the staff at the beginning of' a piece or
movement, indicating the key and
measure in which it is written. The
chromatic sign or signs are termed the
key-signature; the figures or signs in-
dicating the measure, the time~signa-
ture^ or rhythmical signature.
Signatu'ren (Ger., pi.) The figures and
signs employed in thorough-bass nota-
tion.
Signe(Fr.). Sign.
Sig'aum (Lat) Sign. . , Signa impli'cita,
indicicflia, intrin'seca^ see Notation^
3, Modus.
Sigttidilla (Span.) See Seguidilla.
Slurring a sylla-
ble, L e. singing it to more than one
tone,
Silence (Fr.), Silea'zio (It.) A rest.
(Comp. Pause, Soupir.)
Sillet (Fr.) Nut; specifically, petit sil-
let, nut at upper end of neck ; grand
dllet^ nut at tailpiece.
Similar motion,
Si'miie (It/' similarly, in like manner.")
A direction to perform the following
passage or passages in the same style as
a preceding similar passage ; used to save
the trouble of repeating phrase-marks
and other signs., . The simile-mark is
j . (see Abbreviation), [Simile, be-
' ing an adverb, is indeclinable,
and has no plural form simili; the Lat
term is similiter.]
Simple. (Of tones and intervals.) Not
compound. (Of counterpoint, imita-
tion, s rhythm etc.) Not compound or
complex, undeveloped, not varied.
Sin* (It) Abbr.of5fow.
Sinfoni'a (It.) i. A symphony. 2. An
overture (to the earlier Italian operas).
Sinfonie / (Ger,) Symphony (usually
Symptoms').
Sing'akademie (Ger.) A choral sing-
ing-society.
Sing'bar (Ger.) Singable ; cantabile . . .
Sehr singbar vo^zutragen, perform in
a very singing style.
Sing^end (Ger.) Singing, melodious
cantabile.
Sing'etanz (Ger.) Dance accomp. with
song.
Sing'fuge (Ger.) Vocal fugue.
Singhiozzau'do (It.) Sobbingly, catch-
ing the breath,
Sing'manieren (Ger,, pl.) Vocal graces.
Sing'schule (Ger.) Singing-school,
Sing'spiel (Ger.) The German national
form of the opera, established during
the 2nd half of the i8th century by J.
A. Killer, whose guiding rule was ta
give simple, folksonglike melodies to
singers representing plain characters,
whereas to u gentlefolk" he gave arias;
the instrumental accomp. is also kept*
subordinate to the vocal parts. The
term is also used for any light opera ot
operetta with spoken interludes ; like-
wise, by extension, for more preten-
tious operas and mus. dramas.
Sing'stimme (Ger.) The singing-voice,
the voice.
Sifli'stra (It.) Left ; mam j., left hand;
cotta s., with the left hand.
Sink-a-pace. See Cinque-pace.
Si'no (It.) To, up to, as far as, till ; sino
(or sin 9 ) aljine, to the end.
Si'ren. (Ger. Sire*ne; Fr. tirene.) An
acoustical apparatus for determining the
vibration-number of a given tone.
Sir Roger de Coverley. An ancient
English dance-tune in 9-4 time, still in
vogue as a country-dance.
Siste'maflt.) Staff.
Sis'trum (Lat.) An ancient mus. instr
of Egypt and the East : a sort of rattle
CHARACTERISTIC PIECE-CHIESA.
ing the fiat keys (rendering them darker
or, as it were,, lending them a minor
character). Theoreticians seem dis-
posed to deny in toto the possibility oi
characteristic differences ; while many
highly cultivated practical musicians
(not to speak of aesthetic enthusiasts of
all stripes) are equally positive that
such differences exist.
Characteristic; piece. A character-
piece ; one depicting a definite mood,
impression, scene, or event T . Character-
istic tone, (i) the leading-tone ; (2) that
tone in any key which specially distin-
gu:shes it from nearly related keys, as
y$ in the key of , distinguishing it
from C-major.
Characters* See Signs.
Charak'terstinime (Ger,) Solo-stop (or-
<gan),. Character stiick > a characteristic
piece,
Charivari (Fr.) A callithumpian con-
cert.
Chasse, a la (Fr,) Alia cacda.
Chef d'attaque (Fr.) The leader of an
orchestra, or of any division of a chorus.
. . Chef tForchestre^ conductor of an
orchestra. . . Ch. du chant, see Rtfetitor.
Chelys (Gk., "tortoise.") I. The lyre
of Mercury, fabled to have been a tor-
toise-shell with strings stretched over
its hollow. 2. Name for both the
Ijass viol and division viol in the 1 6th
and I yth centuries.
Cheng. The Chinese mouth-organ, the
'wind-chest of which is formed by a
gourd into which the air is blown
through a curving tube, and bears on
' its tipper side from 12 to 24 free-reed
pipes. Its introduction into Europe
led to the invention of the accordion
and harmonium.
Chest 6f viols. A set of viols, i. e. 2
'' trebles, 2 tenors, and 2 basses, which
formed the nucleus of the i;th century
orchestra. (Also Consort of viols.)
Chest-register. The lower register of :
, Jhe male or female voice, the tones of ^
. wjMch produce sympathetic vibration in
fte daGpL..Ctet-tou, 'chest-wue, a
vocal tone possessing the quality of the
chest-register; opp. to Head-register,
juad-tont.
Cbevalet (Fr.) Bridge.
Cheville (Fr.) 'Peg... QumUtr, peg-
box.
Chevrotement (Fr.) See Boekstrilkr. . .
Chevroteri to execute a che-urotement.
Chiari'na (It.) A clarion.
Chia'roya (It.) Clear, pure. . . 6?Vmz-
menfte, clearly, limpidly, distinctly...
Chiaresfza, clearness, etc.
Chia've (It.) I. A clef. 2. Key of an
instr. 3. Tuning-key.
Chiavet'te, or Chiavi trasporta'ti
(It, "transposed clefs.") A system of
transposing clefs, freely used in the
i6th century. As it was then a rule, '
but seldom infringed, that no vocal part
should overstep the limits of the 5-line
staff, and the modern system of chro-
matic transposition being undeveloped,
composers often employed, in the nota-
tion of the various parts, clefs differing
from those customarily used for the
several voices, these unusual clefs indi-
cating to the practised singers a trans-
position of their respective parts to a
higher or lower pitch :
I. High chiavette.
Discant. Alto, Tenor,
2. Ordinary clefs.
3. Low chiavette.
The high chiavette had the effect of
transposing the parts (and consequently
the entire composition) into a key a
major or minor third higher, i. e. their
effect was equivalent to writing 3 flats
or 4 sharps in a signature headed by
'the ordinary clef ; the low chiavette had
a precisely opposite effect, as if j
sharps or 4 flats had been written after
the ordinary clef. Though not recog-
nized as such, this system was tanta-
mount to a pretty free use of the trans-
posing scales.
Circa, An old Spanish dance, modifi-
cations of which are the Fandango,
Chaconne, Cachucha, Bolero, and pos-
sibly the English Jig.
Chie/sa (It.) Church. . . Concerto da ch.,
a sacred concert. ., Sonata da ch., a
sacred sonata... to chiesa, for the
church, in church-style.
CHIFFRE-CHORD,
Chiffre (Fr.) A figure, as in thorough-
Chifonie (Fr.) Old name of 'the hurdy-
gurdy.
Chikar a. A Hindu violin having 4 or 5
horsehair strings.
Chime. I. A set of from 5 to 12 bells
tuned to the tones of the scale, and em-
ployed in playing the chimes by swing-
ing either the bells themselves, or clap-
pers hung within them. 2. A set of
bells and strikers (hammers) in a mus-
ical box, organ, etc. (See Carillon?)
Chiming-machine. A revolving drum
with pins so set as to pull the ropes of
a chime of bells and ring the chime
mechanically.
Chirogym'nast. An apparatus for
exercising the hands of players on the
pfte. or organ, consisting of a *set of
rings attached by springs to a cross-bar.
Chi'roplast. (Ger. Hand*leitir, i. e.
hand-guide.) An apparatus inv, by
Logier about 1814, consisting of 2
smooth wooden rails attached in front
of and parallel with the pfte. -keyboard,
and a pair of open gloves, the whole
serving to hold both hands in the proper
position for playing, by hindering the
wrist from sinking and obliging the
' fingers to strike vertically. Simplified
later by Kalkbrenner. Termed by
Liszt " ass's guide " (guide-fine) for the
French "hand-guide" (guide-main).
Chitar'ra (It.) A guitar. The Italian
guitar, like the English cither, was
strung with wire instead of gut strings,
. . Ch. coWarco^ a bow-guitar. . . Chitar-
ri'na, a small Neapolitan guitar. . .'Chi-
tarro'ne, "great guitar; * a kind of
theorbo differing from the arciliuto in
having a longer neck, a wider space be-
tween the 2 sets of pegs, and a smaller
body. It had 20 wire strings/ 12 being
over the fingerboard. (See Lute.}
Chiu'so,-a (It.) Closed ; hidden. . . /-
none ' chiuso, see Canone. . . Con focca
chiusa, with closed mouth (comp.
Brummstimmen}.
Choeur (Fr. \ch like .]) Choir, chorus.
. .A grand chvur^ for full chorus,
Choice-note. An alternative note written
above or below another in a vocal part,
which the singer may take in preference
if he choose.
Chqir. (Ger. Chor,- Fr. thceur; It. co'ro}
I* A company df singers, especially in
a church ; hence, the part of the church
which they occupy. 2. A choral sod*
t y- 3- (In the Anglican Church.) A
body of officials whose function is the
sitting divided on the decani and can-
toris sides of the chancel, 4, A sub-
division of a chorus, e. g. the ist and
2nd^ choirs (coro primo e secondo} in 8-
part music. 5. Same as Band$.
Choir-organ. (Se"e Organ.} . . . Choir-
fitch, (see Chor ton}.
Chor (Ger.) i. Chorus; choir. 2. On
the pfte., a unison (the 2 or 3 strings
belonging to one tone), 3. On the
organ, those pipes belonging to a mix-
ture which are sounded by one key. 4.
A combination of instr.s of the same
family, but different pitch, e. g* Trom-
' petenchor.
Chora'gus, Chore'gus (Gk.) The lead-
er or superintendent of the ancient
dramatic chorus. . Hence, in Oxford
(England), the title of a functionary
who has charge of the' mus. services in
church.
Cho'ral (adj} Relating or pertaining to
a chorus or vocal concerted music.'..
Choral notes, see Note. .'.Chor a I service ^
a church-service consisting chiefly of
music by the choir. ^
Cho'ral (noun} I. (Ger. Chora?; Fr.
cantique, plain-chant; It. can'tico, can-
zo'ne sa'cra} A hymn-tune of the
early German Protestant Church; also,
a hymn-tune similar in 'style to the
above. (Sometimes spelled Chorale^
2. (In the K,. C. Church.) Any part
of the service sung by the choir.
Choraleon. See Molomekdicon.
Chora'liter (Lat.) ) In the style of a
ChoraTmassig (Ger.) ) choral.
ChoraTnote (Ger.) A choral note.
Chor1>uch (Ger.) See Part-book 2.
Chord. l.(Ger. Akkord'; Fr. owrrf/lt
accor'do} In a^g^neral sense, the har-
mony of 2 or more tones of different
pitch produced simultaneously. As a
technical term, a combination of from
3 to 5 different tones, formed by erect-
ing, upon a fundamental tone^ or root,
an ascending series of diatonifc tirJ-ds.
A 3-tone chord is called a tr iad, a 4-
tone chord a chord of the jth, and a
5-lone chord a chord of the^th. The
term chord is often applied specifically
to the triads, as majo* ;Hord t minor
CHORD.
chord \ fundamental 'chord r ,etc. A View
of the fundamental diatonic chords fol-
lows, with the ordinary figuring in
thorough-bass and theory :
Triads in Major.
C\ I ii HI IV V vi vii
Triads in Minor.
sfl
C: I 7 ii, m r IV 7 V 7 VI T vn?
Chords of the Seventh in Minor.
c: IT II? III f 7 IV 7 V 7 VI 7 vii?
Chords of the Ninth :
etc.
When the root of a chord is the lowest
tone, the chord is said to be in the
fundamental position; when some other
tone is the lowest, the chord is inverted.
Each triad has 2 inversions, and each
chord of the 7th has 3. The inversions
are limited neither to the given number
of tones, nor to any particular , order of
the intervals above the bass ; e. g. a
chord of the sixth may be written
C:_:I IT 1 I I
that is, it remains a chord of fae sixth
so long as the third of the triad remains
the lowest tone Y above which the (octave
of the) root forms the interval of a
$ b
r
f-
-+
4-
~tf
=
=J=
*
t=
dl=
f\ I 11 III' IV
Chords of the Seventh
HJ J .1 I
V VI
in Major.
M-
VII
7
4=
m^
=
==
i*=
--
i
-
4=
sixth. The Arabic numerals over
the bass form what is called thorough-
bass figuring ; each figure marks the
interval of some tone above the bass (or
lowest tone), the order of the figures
depending, not upon the order of the
notes, but upon the width of the inter-
vals, the widest interval, always being
written at the top. The simple figures
invariably call for the diatonic intervals
as established by the key-signature. O
calls for tasto solo (see Tasto) ; 2 or f
or 4, for the chord of the second (in full,
chord of the second, fourth and sixth) ;
3 or or I, (a) for the simple triad, (b)
3 alone over the first bass note signifies
that the soprano takes the third of the
root ; I or | calls for the chord of the
third and fourth (and sixth) ; 5, for the
fifth in the soprano ; J, for the simple
triad ; 6, for the chord of the sixth ; f ,
for the chord of the fourth and sixth ;
\ , or |, for that of the fifth and sixth ;
7 (|), for the chord of the seventh ; 8,
for the octave in the soprano, i , for the
simple triad ; 9, (? or a, according as
the fifth or seventh is dropped), for the
chord of the ninth. * 8 V } J were for-
merly used to show that the tenth and
octave, eleventh and ninth, etc. of the
bass note were to be taken instead of
the third and prime," fourth and second,
etc. Where there is a choice, the
simpler figuring is preferable, unless
some interval is chromatically altered.
A ft> b M* * , or bb ah** over a bass
note signifies that the third 'in the 'chord
is correspondingly altered chromatic-
ally. A crossed figure (^ & # etc.)
indicates that. the interval is sharped.
A dash (-) after a figure prolongs the
tone into the next chord. The Roman
numerals tinder the bass form no part
of the thorough-bass figuring ; they in-
dicate on what degree of the scale the
given chord (i. e. the root of the chord)
has its seat, the key or scale itself being
marked by a capital letter for major and
a small letter for minor. A large
numeral indicates a triad with major
third ; a small numeral, a triad with
minor third ; with an accent (III 7 ), the
augmented fifth ; with a cipher (vn),
the diminished fifth ; with a 7 (V 7 ), the
chord of the seventh. [This is the
system generally accepted ; its prime
defect (clumsiness in following chro-
CHORDA-CHROMATIC*
43
matic alterations, and consequent in-
ability to cope with the exigencies of free
tonality) is felt by all theorists; Ja-
dassohn solves the problem empirically
by stretching his highly elas- r-f J
tic theory of altered chords to Ife^i 1 ^
the utmost ; e. g. he writes v C: IV
(=f$-dp-c as the major triad on the
4th degree of C-major \)Riemann, on
the other hand, has devised an entirely
new system, explained under art.
Phone.] (Alsocomp. Thorough-bass.)
Altered chord, a chord chromatically
changed, but not effecting a modula-
tion ; the commonest altered chords
are the triads on the 1st, 2nd, 4th and
. 5th degrees in major and on the 4th
and 6th degrees in minor (with al-
tered fifth); on the 2nd degree in
major and 6th in minor (with altered
root) ; the chords of the 7th on the same
degrees, excepting the 6th in minor
(with altered fifth), and on the 7th de-
gree in major and 2nd in minor (with
altered root). . .Anomalous ch., see Ano-
maly.. .Augmented ch., one having ma-
jor third and augm. fifth. . .Broken ch.,
an arpeggio. . . Chromatic ch. , one chro-
matically altered. . . Common ch.,& triad
peculiar to any given scale.. .Deriva-
tive ch. , one derived by inversion from
another. . .Diatonic ch., a common
chord. . .Diminished ch., one having
both 5th and 7th diminished. . . Domi-
nant ch., (rt)the dom. triad, (b) thedom.
ch. of the >]tii... Doubtful ex Equivocal
ch.i a dissonant chord of uncertain reso-
lution, like that of the dimin. 7th,
which belongs to various keys, and may
resolve to any one of them.. .Funda-
mental chord, (a) one in the funda-
mental position, i. e. with the root low-
est ; (b} the tonic triad ; (c) one of the
3 principal triads of a key (tonic, domi-
nant, and subdominant) ,(d) a common
chord.. .Imperfect or incomplete ch., a
chord, one of whose tones Is omitted,
.Inverted ch., see Inversion.. .Lead-
ing ch., the dominant ch. of the 7th.
. .Major, minor ch., see Major, Minor.
. .Related or relative ch., see Relation.
. . Seventh-chord, ch. of the 7th.. . Solid
ch., one whose tones are produced
simultaneously ; opp. to broken. . . Tran-
sient ch., one used in modulating from
one key to another, and foreign to both.
2. A string.
ChorMa (LatJ- i. A string. 2. A tone
or chord. . . Ch. character? stica, a chord
of the 7th containing a leading-note..
Chords essentiofles, the key-note with
its third and fifth, the tonic triad.
Chordaulo'dion, or Chordomelo'dion.
A kind of automatic barrel-organ hav-
ing pipes and strings combined ; inv.
by Kaufmann of Dresden, in 1812.
Chordom'eter. A string-gauge.
Cho'ree, Chore'us. A metrical foot
identical with the trochee.
Cho'riamb, Choriara'bus. A metrical
foot having 2 short syllables between 2
long ones, the ictus being on either of
the latter (-* ~>-> , or ^ ^-* *).
Chorister, i. A singer in a choir. 2.
A precentor.
Chor'ton (Ger.) " Choir-pitch," i. e. the
pitch at which church-choirs formerly
sang in Germany, as set by the organs.
(See Pitch> absolute?)
Cho'rus. (Ger. Chor; Fr. chceur; It.
co'ro.) i. A company of singers. 2.
In an opera, oratorio, etc., the main
body of singers, as distinguished from
the soloists and orchestra. 3. A refrain.
4. A composition, or any part of one,
oftenest in 4 parts, intended to be sung
in chorus ; a double chorus has 8 parts.
5. The compound stops of an organ.
6 (obs.) The bagpipe ; the drone of
the bagpipe, or the free sympathetic
strings of the crowd.
Chorus-master. , The leading singer in
a chorus.
Chri'ste ele'ison (Gk.) Part of the
Kyrie in the Mass (see Mass).
Chro'ma (Gk., "color".) I. In Greek
music, a chromatic modification of the
tetrachord 2. A sign altering the
pitch of a note by a semitone (jf or |>) ;
also, a chromatic semitone. =-3. An
eighth-note or quaver (J^); ch. simplex*
(a) an eighth-note, (b) a # or b I ch.
duplex, (a) a i6th-note ( J\), (b) a x or
bb-~~4 A semitone.
Chromat'jc. (Ger. chrwia r ti$ch> Fr.
chromatique; It. croma'tico.) Relating
to tones foreign to a given key or chord ;
opp. to diatonic. . . Chr. alteration, rais-
ing or lowering the pitch of a note by
means of a chromatic sign ; of a chord^
or melody, the introduction into it of
one or more tones foreign to the ruling
diatonic key, but not effecting a modu-
lation (then sometimes called a chro-
matic chord or melody). . . Chr. harmony.
a succession of chromatically altered
chords. . , Chr, instrument, one produc-
'44
CHROMATIC-CLAIRON.
ing the tones of the chr. scale. . . Chr. in-
tirval, an interval chromatically aug-
mented or diminished, . . Chr. scale, see
Scale. ..Chr. semitone, an interval
formed by altering a note of the natural
scale by a sharp or flat, or by further
altering such a sharped or flatted inter-
val by a x or bb- ( See Semitone.}.
Chromatic signs, the characters used in
mus. notation for raising or lowering the
"pitch of (a) natural notes, (b) notes
already raised or lowered (comp. Table,
art Interval}. Those now in use are
the Sharp (#), Flat (b), Natural (fl),
Double-sharp (x), Double-flat (bb) J
the Great Flat (j?) is obsolete; the
' combined sign tftf (or Bb) signifies that
a note previously sharped (or flatted) is
first restored to its natural pitch on the
staff and then sharped (or flatted) ; the
Double-natural (t]t!) is superfluous and
incorrect. The chromatic signs at the
head of the staff are called the key-sig-
nature (see Key i) ; such as occur
irregularly in the course of a composi-
tion are called accidentals. An acci-
dental, as a general rule, affects its
note only during the measure in which
it is written, unless the note be tied into
the next measure or measures:
g. .. !
higher or lower octaves of the note are
not affected, and must therefore like-
'wise take an accidental.
Chromatic (noun.) A chromatically al-
tered note.
Ghronom'eter, Occasional for Metro-
nome? !
Chrcnometre (Fr.) A species of mono-
chord, made to sound by means of a
keyboard like that of the pfte. , to teach
, the. tuning of the latter; inv, in 1827
by Raller, pfte. -maker in Paris.
Chrot'ta, See Crowd.
^Church-modes. See Mode.
Chute (Fr.) A grace-note or appoggia-
tura either above or below the melody-
" note ;
played:
^Also, a slide
descending by a
third:
Ciacco'na (It.) Chaconne.
Cico'gna (It., lit. " stork.") The mouth-
piece of a wind-instr.
Cicu'ta (Lat.) A sort of flute, or Pan's-
pipe.
Cifra'to (It.) Figured.
Cim'bal. See Cymbal.
CinVbalo (It.) i. A cymbal. 2. A
harpsichord. 3. A tambourine.
Ciml>alon. Same as Zimbalon.
Cim'bel (Ger.) See Cymbal 2. . . Cim'bel-
stern, see Zimbelstern.
Cinel'le(It., pi.) Cymbals. -
Cink (Ger.), Cinq (Fr.) See Zink 2.
Cheque (It.) A fifth part in concerted
music. . .A cinque \ for or in 5 parts.
Cinque-pace. An old (presumably
French) dance, with a 5-step movement.
Cipher. A tone is said to " cipher" on
the organ when, owing to some de-
rangement in the action, it persists in
sounding.
Circle-(orcircular)canon. See Canon. . .
Circle of fifths, see Temperament.
Cir'colo mez'zo (It.) A turn, (Now
Grupfetto.)
Cir'culus (Lat., " circle".) A time-sig
nature in medieval music. (See Nota.
tion, 3.)
Cis (Ger.) C#. Cis'is, Cx.
Cistella (Lat., "little box.") A dulci,
mer.
Cistole, Cistre, Citole. See Zither.
Cistrum. See Sutrum.
Ci'thara (Lat. ; It. ei'tara.) An ancient
instr. of the lyre family, from which
many medieval and several modern
instr.s (guitar, zither) derive their
names and, in part at least, their con-
struction. See Cither. f . C. biju'ga, a
two-necked cither.
Cith'er (also cithern^ cittern; Fr. cistre,
sistre; It. ce'tera, ce'tra). An instr.
strung with wire and played with a
plectrum ; a variety of lute or guitar,
in vogue during the i6th and zyth cen*
,turies. (es Zither.)
Citole. A small dulcimer.
Civetteri'a (It.) Coquetry. . . Con c t , in
a coquettish, trifling style.
Clairon (Fr.) i. A clarion (either the
instr. or the organ-stop) . . . Cl. chro-
matique, a species of valve-trumpet
made in 6 different pitches, (as a con-
CLANG CLASSIC.
45
trabass, bass, barytone, tenor, alto, and
soprano.) 2. Clarinetto register of the
clarinet. 3. Bugler (for infantry).
Clang. See Klang.
Clang-color, Clang-tint. Timbre,
44 tone-color ;" the quality of a tone,
dependent on the number and intensity
of its harmonics.
Claquebois (Fr.) Xylophone.
Clarabella. An organ-stoj) having open
wooden pipes of 8-foot pitch and soft,
mellow tone.
Claribel-flute. A 4-foot Clarabetta,
Clarichord. An instr. of the late middle
ages, apparently a variety of harp,
though thought by some to have been
identical with the clavichord.
Clarin (Fr.) See Clarion.
.Clarinet', i. (Ger. Klarinette; Fr.
clarinette; It. clarinet'to.) The parent
instr. of the clarinet family was the
chalumeau, a primitive wind-instr. hav-
ing a cylindrical tube with 9 finger-
holes, and a beating reed; its entire
scale
I I j J J atafc
i: ^ * "5 * 7 8 9
was composed of the prime tones pro-
duced by successively opening the
holes. The modern clarinet differs
from the chalumeau chiefly in its abili-
. ty to reproduce the prime tones of its
scale (or rather their third partials) a
twelfth higher; this result is due to the
addition of a small hole, covered by an
extra key, at the nodal point dividing
the air-column into 3 equal portions,
an improvement attributed to Joh. Chr.
Denner of Nuremberg about 1 700. The
higher scale or register thus obtained
was termed, by reason of its bright and
piercing qualify, darinetto (whence the
name of the modern instr.); the origin-
al lower scale retained the name of the
old chalumeau. The soprano clarinet
in Cis the typical instr. of the family;
compass 3 octaves and a sixth (with
chromatic intermediate tones):
It has a cylindrical wooden tube pierced
by 1 8 holes, 13 of which are closed by
keys, yielding a chromatic series of 19
prime tones \e to b^)\ it is composed
of 5 pieces of joints, namely, the
mouthpiece with the reed, the socket
(Ger. Birne)^ the "right-hand" and
"left-hand" joints of the tube proper,
and the bell; its higher registers are
simply the third, and fifth or ninth,
partials of the prime tones (from b l |J to
/ 3 , and/^Jto <*.) The 'quality of the
tone differs greatly in the four registers,
the " chalumeau" and "clarinetto"
being comparable to the female con-
tralto and soprano respectively, while
the medium is weak and veiled, and the
highest shrill and 'piercing. Several
sizes are made : (i) The large soprano
cL in C, J&Q, and A, and (2) the small
soprano clarinets in D, E> F and A]),
these last being mostly used in military
music, in which their position is similar
to that held by the violins in the or-
chestra. There are also alto (or bary-
tone) clarinets in F and Ify, and bass
clarinets in C, Jfy t or A (octave below
the soprano instr.s of the symphony-
orchestra). The cL is a transposing
instr., and its music is written in the C-
clef. The fingering is very complicated
and the reed difficult to manage, a
slight error of judgment sufficing to pro-
duce the fatal *' couac." 2. See Clar-
ionet 2.
Clarinet-stop. See Krwnm'horn.
Clarinetto (It.) See Clarinet.
Clari'no (It) i. Clarion r and 2. 2.
A name loosely applied to the trumpet
and bugle. 3< Used for tromba^ in -
some old scores.
Clarion, i. A small, shrill-toned trum-
pet. 2. In the organ, a 4-foot reed-
stop of a shrill, piercing tone.
Clarionet. I. A clarinet. 2. In the
organ, an 8-foot reed-stop of soft tone.
. . Clarionet-flute, a flue-stop with per-
forated cover.
Classic. In a restricted sense, a com-
position is called classic when it be-
longs to an acknowledged style in art,
and is by an acknowledged master of
CLAUSULA-CODA.
that style. In a broader sense, any
ompositioa may be termed, classic
which, in its kind, might be taken as a
model for imitation, and in which the
form Id in perfect harmony with the
spirit or subject-matjer. Classic is
also often used as a distinctive epithet
for the works of the earlier masters,
including Beethoven, and their imita-
tors, in contrast to those of the roman-
tic school ; classic forms being the
aria, rondo, sonata, symphony, etc.
Clau'sula (Lat.) A cadence.
Clavecin (Fr.) A harpsichord. t .CL
atoustique, a French invention of the
l8th century, imitating several stringed
and wind-instruments.
< Claviatur / (Ger.) Keyboard (JClawatur).
Clavicembalo (It.) Harpsichord.
Clavichord. (Gtt.Kla'vichord,IClavier' ;
Fr. clavicorde; It. clavicor'do.) One
of the precursors of the pfte. (see Pi-
anoforte\ differing in action from the
latter in having, instead of hammers,
upright metal wedges called tangents
on the rear end of the digitals; on de-
pressing a digital the tangent struck
the wire and remained pressed against
it till the finger was lifted, causing only
one section of the string to vibrate.
(Compare Gebunden.)
Clavicithe'rium^cythVrium.) An ob-
solete instr., supposed to have been a
kind of harpsichord, but with the
strings stretched in a vertical frame in-
stead of horizontally.
Clavicor (Fr,) A kind of cor a pistons.
Ckvicylin'der(Ger.) A keyboard instr.
inv. by Chladni about 1800, containing a
glass cylinder caused to revolve by a
treadle, and steel wands or bars instead
of strings, which were pressed against
the revolving cylinder on touching the
digitals, and thus made to sound ; com-
pass 4j octaves,
Clavier 7 [veer'}. (Ger. Wavier*.) i. A
keyboard (Klaviatur).~2. (Ger.) Gen-
eric name for all keyboard instns except
organs ; especially (formerly) for the
clavichord, and (at present) for the
pianoforte. See Klavier.
Clavier (Fr.) I. A keyboard. . .Post/-
der son cL, to know one's keyboard...
CL de r/di, Re*dt expressif^ swell-man-
ual (organ). 2. The range or scale of
notes comprised on the grand staff
without leger-lines.
Claviglissan'do. A keyboard instr.
consisting of a combination of mechan-
isms for producing various harmonium
effects, and also the portamento of the
violin ; inv. by Le Jeune.
Cla'vis (Lat,) I. A key (digital), clef, or
note. 2, Bellows-handle.
Clef (Fr.) I. Clef ; armer la
clef, to furnish the clef with the key-
signatures. 2. Key (of a wind-instr.)
Clef. (Ger. Schl&s'sel: Fr. cU, clef; It
chia've?) A character set at the head
of the staff to fix the pitch or position
of one note, and thus of the rest. The
3 now in use are the /'-clef, C-clef , and
-clef; theJF-clefand -clef are also
called the Aw-clef and Treble-dti re-
spectively, because they fix the position
of the bass and treble notes. The C-
clef is variously called the Tenor-, Alto-,
and Soprano-dei) according as it is set
on Lhe 4th, 3d, or 1st line of the staff ;
wherever placed, it marks the position
of Middle-C* (Tenor-C) A view of the
clefs used at present is appended.
Bass-clefs.
C-clefs.
Treble-clef.
Tenor-clef (recent).
The .F-clef on the 3rd line (Barytone*
clef), the C-clef on the 2nd (Mezzo-
Soprano<\&i), the -clef on the ist line
(French wV&Vf-clef), or on the 3rd line,
are no longer used (the C-clef on the
snd line occa- -ft fl is sometimes
sionally). The mfo : used in vocal
double 'G-clef : \} \j music as a ten-
or-clef, signifying that the part lies an
octave lower than written, Our modern
forms of the clefs are corruptions of
the letters/, c> and^, formerly plainly
written.
Cliquette (Fr.) The bones.
Close (noun; Ger. Schluss). See Gz-
dence 3.
Close harmony or position. See Har*
mony tt . Close play, a style of lute-
playing in which the fingers were Kept
on the strings as much as possible.
Co'da (It., " tall.") Specifically, a pas-
CCELESTINA-COMPLIN.
47
sage finishing a movement, and begin-
ning where the repetition of the first
subject ends. Originally, it was a few
chords (or a short passage) intended
as a winding-tip ; it became of growing
importance in the canon, sonata, rondo,
etc., and is frequently developed into an
almost independent concluding division.
Also, the stem or tail of a note
(cauda).. .Codetta, a short coda. (See
Fugue.)
Ccelestina (or -o). A name bestowed
in the l8th century on several modifica-
tions of keyboard stringed instr.s, in
which alterations of the tone could be
produced by mechanisms under the
player's control*
Coffre (Fr.) Case (of a pfte.) ; body (of
a violin).
Co'gli stromenti (It.) With the instru-
ments.
Coi, col, coll', colla, col'le, col'lo (It.)
With the.
Colascio'ne (It.) See Calascione.
Collet de violon (Fr.) Neck of a violin.
Collinet (Fr.) A flageolet ; named after
a celebrated player.
Corophony. (Ger. Kolophon' ; Fr.
colophane ; It. eolofJnia; from Lat.
colopho'nium.) Resin or rosin.
Color, i. Timbre (tone-color). 2. The
characteristic rhythms, harmonies, and
melodies of a composition. 3. (Lat.)
See Notation, 3.
Colorado (It.) Florid, figurate.
Coloratura (It.) Colorature, i. e. vocal
' runs, passages, trills, etc., enhancing
the brilliancy of a composition and dis-
playing the vocalist's skill. Also ap-
plied to similar instrumental music.
Coloris (Fr.; Ger. C(K)olorif [Far'ben-
gebung. The tonal " color-scheme, 11
vocal or instrumental, of a composition,
movement, or scene ; i. e. the modifica-
tions in vocal or instrumental timbre,
or in the instrumentation, employed for
obtaining special effects.
Col'po (It, "blow".) Di colpo, at a
blow, suddenly, at once.
Combination pedal. See Pedal . . Com-
bination tones (combinational tones),
see Acoustics.
Combined mode. See Dur Moll-
Tonart.
Co'me (It.) As, like. , . C. prima, as at
first, as before. . . C. sopra, as above.. .
C, sto, as it stands, as written.
Co'mes (Lat.) Answer (in a fugue);
consequent (in a canon).
Comma. I. A comma (,) is often used
as a breathing-mark. 2. (a) Didymic
or syntonic c. : The difference between
the greater and lesser whole tone, or
8 0:8 1 ; (b) Pythagorean c., or c. maxi-
ma : The difference between the octave
of a given tone and a tone 6 whole
tones higher than the given tone, or
524288:531441.
Com'modo (It. ; also co'modo.) Easy,
leisurely, at a convenient pace ; as al-
legro commodo., . Commodamen'te, easily,
quietly, leisurely.., Commode? to, rather
easy or leisurely.
Common chord. A major or minor
triad... Common hallelujah metre, or
Common long metre, a 6-line stanza
formed of a common-metre stanza with
half a long-metre stanza added ; thus,
868688... Common measure, see
time. . . Common metre, a form of iambic
stanza, of 4 lines containing alternately
8 and 6 syllables ; thus, 8686.. .Double
common metre, a stanza formed of 2
common-metre stanzas. . . Common par-
ticular metre, a 6-line stanza, the 3rd
and 6th lines having 6 syllables, and
the others 8 each ; thus, 886866...
Common time, a measure containing 2
(or 4) half-notes or 4 quarter-notes,
with 2 or 4 beats respectively ; duple
or quadruple time- (Ordinarily > com-
mon time is understood to mean 4
quarter-notes [and as many beats] to a
measure.)
Compass. (Ger. Urn' fang; Fr. diapa-
son; It, estensio'ne) The range of a
voice or instr., i. e. the scale of all the
tones it can produce, from the lowest
to the highest.
Compiace'vole (It.) Pleasing, delightful.
Complement. An interval which, added
to any given interval not wider than
an octave, completes the octave ; thus
a fourth is the c. of a fifth, a minor
sixth of a major third, etc. Also com-
plementary interval.
Comple'tory, (Lat. complete* 'rium.) I.
An anthem supplementary to an anti-
phon in the lauds and vespers of the
Ambrosian rite, 2. See Complin.
Com'plin(e), The last of the 7 canon*
ical hours.
COMPONISTA-CONJUNCT.
Componi'sta (It.) Composer.
Composition pedal. In the organ,
pedal which draws out or pushes i
several stops at once. (Comp. combina
tim pedal.)
Composizio'ne (It.) Composition..
C di tavoli'no, table-music.
Compound interval. See Interval, .
Cl measure, rhythm, time^ see Time..
stop, an organ-stop having more than
one rank of pipes,
Con (It.) With.
Concave pedals. See Radiating.
Concen'to (It.) i. Concord, harmony
2. The simultaneous sounding of a]
the tones of a chord ; opp. to arpeggio,
Concensus (Lat.) i. Concord, har
mony, 2, Part-music. 3. See Ac
centus.
Con'cert. i, A set of instr.s of the same
family but different in size (see Chest
Consort]. .2. A concerto. 3. (Ger. Kon
zerf; Fr. concert; It conce/to^
public mus. performance... Dutch con
cert, the singing of an entire company
in which each person sings whatever he
pleases ; or the persons present sing in
alternation any verse that comes into
their heads, the refrain by the whole
company being a regular repetition of
some popular verse.. . Concert sfirituel
(Fr.), sacred concert.
Concertan'te (!t.) Concordant, har-
monious. Hence: r. A concert-piece.
2. A composition for two or more
solo voices or instr.s with accpmp. by
organ or orchestra, in which each solo
part is in rum brought into prominence.
3- A composition for 2 or more
solo instr.s without orchestra.. . Cancer-
tante parts, parts for solo instr.s in
orchestral music... Cancer tante style , a
style of composition admitting of a
brilliant display of skill on the soloist's
part. . . Concerta'to, concerted.
Concerted music. Music written in
parts, for several instr,s or voices, as
trios, quartets, etc.
Concert-grand. $*& Pianoforte.
Concertina* The improved accordion
inv. by Wheatstone in 1829. The key-
boards are hexagonal ; the compass of
the treble c. %va a double-ac-
is4 octaves: / tion instr.,
includingallrf- /T" producing
chromatic [fo J _ thesametone
Jones ; it is 5 g? on. drawing
out and on pushing in the bellows.
Tenor, bass, and double-bass concertinas
are also made. A great variety of music
can be played, and the literature is quite
extensive; the instr. is, likewise capable
of great expression, and the tone is sus-
ceptible of considerable modification.
Concertino (It.) i. A small concert.
2. Equiv. to concertan'te, i. e. lead-
ing, principal ; as violino concertino,
principal violin ; here opp. to rifie'no.
Concerti'sta (It.) Concert-player, solo
performer, virtuoso.
Concert-master. See Konzert'meister.
Concerto. (Ger. Komert f ^) An ex-
tended composition for a solo instr. ,
commonly with orchestral accomp., in
sonata-form modified to suit the char- ,
acter of the solo instr. (e. g. the cadenza);
pfte. -concertos in which the pfte.-part
is comparatively inconspicuous are jocu-
larly called " symphonies with pfte.-
accomp," The earlier concertos were
in concertante style, 2 or more instr.s or
voices bearing leading parts ; Viadana's
concer'ti ecclesia'stici, or da chief sa,
were simply motets with organ-accomp:;
Torelli was the first (1686) to write
concerti da ca'mera (for 2 violins and
double-bass).
Concert-pitch, See Pitch.
Concert/stiick (Ger.) A concert-piece ;
a concerto.
Concita x to (It.) Moved, excited, agi-
tated.
Concord, i. Harmony; opp. to dis-
cord, 2. See Consonance.
Concordant, i. Consonant. -2, (Fr.)
A barytone voice.
Conductor. (Ger. Kapellmeister, Diri-
gent f ; Fr, chef d'orchestrej It. capo
d 1 orchestra, mae'stro di cappel' la.) The
director of an orchestra or chorus.
Conduc'tus (Lat.)' A form of polyphp-
nous composition (i2th century) in which
the tenor to the contrapuntal variations
was not borrowed from plain song (as
in ( the o/ganum and dzscan'tus), but,
like the counterpoint, was original
with the composer.. . du'phx, 3-part
counterpoint ; C. sim'plex, 2~part coun-
terpoint.
Conduit (Fr.) r. Conductus. 2, 4
wind-trunk (organ).
ione-gamba. Bell-gumba.
Conunct 7 . (Fr. conjoint; It. congiun*.
A degree of the s^ale immediately
CONSECUTIVE INTERVALS CONl R^-,
succeeding another is called a conjunct
degree ; opp. to disjunct.
Consecutive intervals. Intervals of
the same kind following each other in
immediate succession ; " consecutives "
are progressions of parallel fifths or
octaves, forbidden in strict harmony.
See Parallel
Conseguen'te (It.) Consequent. . . Con-
seguen'za, a canon,
Consequent. (It. conseguen'te!) See
Canon.
Conservatory. (Ger. Konservato'rium;
Fr. conservatoire; It. conservato'rio!)
A public institution for providing prac-
tical and theoretical instruction in
music,
Consolah'te (It.) Consoling, soothing.
Consonance. (Ger/ Konsonanz' ; Fr.
consonance; It. consonantal] A com-
bination of 2 or more tones, harmonious
and pleasing in itself, and requiring
no further progression to make it satis-
factory ; opp. to dissonance. (Comp.
' Acoustics, 3.). . .Imperfect consonances,
the majorand minor thirds and sixths.
..Perfect consonances, the octave,
fifth, and fourth.
Consonant chord. One containing no
dissonant interval.. . C. interval, a con-
sonance.
Con'sort. I. See Chest (of viols). 2.
A band, or company of musicians.
Con'tano (It., "they count.") Direc-
tion in scores, that parts so marked are
to pause.
Continual (It.) Continued (see Basso
-continue} ; held, sustained.
Continued bass. - See Boss.
Cqnti'nuo. A BZSSQ continue.
Contra (^At. % It.) Compounded with
s names of instr.s, it signifies an ' octave
" below ; e. g. contrabbas'so, a double-
bass. . * Contra-octav6 9 see Pitch.
Contrabass, (It. contrabbas'so} i. A
double-bass.- 1 -^, ' The lowest bass
instr. in a family of instr.s. . . Contra-
bassist, a player on the double-bass.-
Qontraddan'za (It.) Contra-dance or
country-dance. '
Contraffagot'to (It.) I. A double-bas-
spon. 2. A reed-stop in the organ
^ imitative of i.
Contral'to (It) . The .lowest female
voice, having a com-
pass from about /
to f 2 , the extremes
being ejf :
(Also Alto.) Male voices were exclu
sively employed in the old church*
music, the tenor being called altus;
hence the term "contr'alto", i.e. op-
posed to or contrasted with the altus.
Contrappunti'sta (It.) A contrapuntist.
Contrappun'to (It.) Counterpoint. . , C.
alia men'te, see Chant surle livre. * . .
alia top* pa, "limping", i. e. syncopa-
ted, counterpoint. . . C. dop'pio^ double
or invertible counterpoint. . , C. synco-
pa' to, syncopated counterpoint, . . C.
so'pra (softo) il soggefto, counterpoint
above (below) the theme. .
Contrapunc'tus (Lat.) Counterpoint. . .
C. ad mden f dum^ counterpoint written
out ; opp. to conirappun'toallamen'tei
improvised counterpoint. . . C. gqua'lis,
equal counterpoint. . . C. diminu'tus or
florjidus, florid or figurate counter-
point. . . C. in&qua'liS) unequal coun-
terpoint.
Contrapuntal. Pertaining to the art
or practice of counterpoint.
Contrapuntist. One versed jn the
practice and theory of counterpoint,
Contr'arto (It) "Against the bow, 1 '
up-bow for down -bow, or nice versa.
Contrary motion. See Motion.. , .
Contrasogget/to (It.) Countersubject
Contra-tenor. Countertenor.
Contrattem'po (It.) i. A tone enters
ing on a weak beat and ending on a
strong beat; a syncopation. 2. -A
sustained melody, as contrasted with Its
figurate accomp.
Contravioli'no, -violo'ne (It.) A doable^
bas,s. , ,
Contre-(Fr.) Contra-, counter-?., '.Coo*
ire-bam, double-bass. . . Contrfdqnse, j
French dance deriving its name^from
the position of the dancers opposite to
or facing each other. Originally 'there
were but 2 dancers ; there are ilow 8','
and the dance is known in English as
the @wfldh7&. Also, dance-music for
a quadrille. . . Contre-tdisses, linings . ,
Contre-partie> a mus. part opp. to- ,p|
contrasted with another, as bags,.snd
soprano; said especially of .either. of
the parts in a duet.*
t$rpoint ;
CONVERSIQ-CORNO.
..Conire-sujet, countersubject. . . Con-
tre-tentpSy see Contratiemfo.
Conver'sio (Lat) Inversion.
Coper'to (It.) " Covered/' muffled ; as
tom'pani coper's,, muffled kettledrums.
Co'pula {Lat.) I. (also Fr.) A coupler
(organ). 2. A name for certain flue-
stops ; (a) the 8-foot open diapason ;
(t) the 8-foot Hohfjiote or Kop'pel-
fiote.
Cor (Fr.) A horn,..(V-d#, cor-basse,
see Corno alto (basso). . . C. anglais, see
Oboe. . . de basset, basset-horn.. . C.
de chasse, a hunting-horn ; in particu-
lar, the large horn, whose tube is bent
to form a circle of about i-J turns. . . C.
de signal^ a signal-horn or bugle... C
de vaches, a cow-horn, used by herds-
men. . . C. omnitonique, a chromatic
valve-horn inv. by Sax.
Corale(It) A choral.
Coran'to (It.) i. A courante. 2. A
country-dance.
Cor'da (It.) A string. .. Sopra una c.,
direction to play a passage on one
string. . . Una Cor da, direction to use
the soft pedal of the pfte. . .Due corde,
(a) -release soft pedal ; or, when the
soft pedal shifts the keyboard, "play
with the pedal pressed halfway down"
[RIEMANN] ; (&) in violin-playing, a
direction to double a note by playing it
simultaneously on 2 strings. . . Tutte
(le) corde (all the strings), release the
soft pedal
Cordatu'ra (It.) Same as Accordatu'ra.
Corde (Fr.) A string. . . a jour, or a
fzifc, an open string. .. fausse, a
string out of tune. . . C. sourde, a mute
string.. *Sur une- corde* Sopra una
corda.
Cordicr(Fr.) Tailpiece.
Cordomfetre (Fr.) String-gauge.
Corife'o(It) See Corypheus.
Ceri'sta. (It.) I. Chorister, either
male or female. 2. Tuning-fork;
pitch-pipe.
Cormorae (Fr.) Ss&Cromorne.
Cornamn'sa(It), Cornemuse (Fr.) A
bagpipe in which the wind is. supplied
by the lungs (see Musette).
Cor'net. [See Comet a pistons, in fol-
lowing art.] I. (Ger. Zin'ke*} An ob-
solete wind-instr. much used during the
I5th and 16th centuries, with a narrow
cupped mouthpiece pf ivory or wopcl,
' and a wooden tube furnished with
fingerholes. There were two classes,
the straight cornet (in 3 varieties, cor-
netto dirt? to, c. muto, compass * a cP ;
2&&cornetti'no, compass d l g*), and
the bent cornet (cornetto cu/vo, com-
pass a a? ; and c. tor' to [or corno, cor
non], compass dd*). The cornon
(cornetto basso) was the prototype of the
Serpent* 2. A reed-stop in the organ,
imitating the blaring tone of I (see 4),
and of varying^ dimensions: 8-foot
pitch, (or 2' or 4'), also called Cornet*
tino\ l6-foot pitch (Grand cornet)...
Bass cornet, a large deep-toned brass
instr. (obs.) 3. (Kornett*.} A com-
pound organ-stop of from 3 to 5 ranks
and 8-foot or 4-foot pitch, differing
from the Mixture in producing the Third
among the harmonics. * .Echo cornet, a
soft-toned cornet-stop enclosed in s
wooden box,. .Mounted cornet, a cornet
stop mounted on a separate soundboard
to render its tone more prominent. 4
A reed-stop of 2 or 4-foot pitch, on the
pedal.
Cornet a bouquin (Fr,) See Cornet i,
..Cornet & pistons (Fr.; Ger. Ventil'*
kornctt), a brass instr. of the trumpet
family, having a conical tube and
cupped mouthpiece ; improved from
the old post-horn by the addition
of 3 valves; tone apt to be loud
and "brassy" ; medium * /*
compass 2 octaves and 3 \Jf. /'
tones. It is a transposing Uy- __[/ zir
instr. noted in the -clef ; g5
this being for the
comet in ^j?, the
one most in use.
In rapidity and
actual
pitch:
lightness of execution, the cornet almost
vies with the flute and clarinet ; a certain
lack of refinement in its tone alone pre-
vents its entrance into the symphony-
orchestra. .. Cornet d'/cho or de r/cit t
cornet-stop,
Cornet-stop. See Cornet 2, 3, 4.
Cornet'to (It, dimin. cornetti'no^ i. A
small horn. 2. A cornet I.
Cor'no (It) A horn. . . alto, high horn
in Bj basso, low horn in J3 [STAINER
AND BARKETT]. alto (basso) also
signify, respectively, one of the two
horn-players, in the orchestral group of
four, who take the highest (lowest)
horn-parts. , . di bassetto, basset-horn.
. . da caccia, hunting-horn. . . in*
gtfse, English horn.
CORNON COUNTERPOINT.
Cornon (Fr.) i. A comet. 2. A brass
wind-instr. of broad scale, inv. in 1844.
Corno / pean. i. Cornet a pistons. 2.
An organ-stop on the swell-manual.
Co'ro (It.) Chorus ; choir.. . C.favori'to, \
a selected chorus, as opp. to the full
chorus. . . C. spezza'to, a divided chorus
(sung by several choirs in different
parts of the church). . .A cori batten' ti^
for divided chorus, one half imitating, in
parallel or reverse progression, what
the other half sings.
Corona (It.) A hold (O).
Cor'onach (Gaelic.) A funeral lament ;
a dirge.
Corps (Fr.) Body (of a tone). ..C.f kar~
monie, a fundamental chord*.. C. de
musique, a wind-band.. . C. de rechange,
a crook. . . C. de uoix, the range and
volume of a voice, taken collectively.
Correcto'riiim (Lat.) Tuning-cone.
Corren'te (It) Courante.
Coryphaeus (Lat.) (Engl. coryphe*us ;
Ger. Korypha'e; Fr. coryphee; It. co-
ri f^o.} In the ancient Greek drama,
the leader of the chorus ; hence, in
modern usage, the leader of an opera-
chorus or other company of singers.
Cotillion. (Fr. cotillon.} A French
dance, the same as the german, to
quadrille-music.
Cottage organ. The ordinary portable
parlor organ (reed-organ). . . Cottage
piano, i. A small style of upright pfte.
2. A small grand pfte. in upright
form, inv. by Wilhelm Kress of Vienna
in 1891.
Couac(Fr.) The "goose."
Couched harp. A spinet.
Coul(Fr.) I. Legato. 2. (Also Dash.}
A harpsichord-grace ;
written : played :
Coulisse (Fr.) Slide (of trombone or
trumpet).
Count. An accent, beat, or pulse of a
measure... Counting, the marking of
the successive beats of the measure by
counting aloud.
Counter. Any vocal part set to con-
trast with the principal part or melody ;
specifically, the counter-tenor (high
tenor, or alto), sometimes sung in the
higher octave as a high soprano. . . Bass
counter, a second bass part, either
vocal or instrumental. . . Counter-exposi-
tion, re-entrance of the subject or sub-
jects of a fugue, either directly follow-
ing the exposition, or after the first epi-
sodes. . . Counter -subject, a fugal theme
following the subject in the same part,
as a contrapuntal accomp. to the an-
swer ; t often used independently as an
episodal theme. . . Counter-tenor ; a high
tenor or alto voice ; hence, the part sung
by such a voice, or the
singer. It is the highest [
adult male voice; compass: I
being nearly the same as that of the
contralto. ..Counter* tenor clef, the
C-cIef on the 3rd line ; used for the
counter- tenor or alto voice, the viola, etc.
Counterpoint. (Ger. Kon'trapunkt;
Fr. contrepoint; It. contrappun' to.)
[From the Latin " punctus contra punc-
tum " (point against point), i. e. note
against note.] i. In a wider sense,
the art of polyphonic composition; opp.
to homophony. The canon and fugue
are the most highly developed contra-
puntal forms. 2. In a restricted sense,
the art of adding one or more melodies
to a given melody (cantus firmus}
according to certain rules ; hence, one
of, or ail, the parts so added. The
Theory of Counterpoint generally rec-
ognizes 5 species, which, in practical
instruction, are variously combined : (i)
Note against note, whole notes in the
cpunterpoint against whole notes in the
c.f. (cantus firm%is)\ (2) 2 against I,
half-notes in the counterpoint against
whole notes in the c, /./ (3) 4 against
I, quarter-notes in the counterpoint
against whole notes in c. /./ (4) with
syncopation, syncopated half-notes in
counterpoint against whole notes in the
* // (5) florid, figurate, or figured,
the counterpoint written in irregular
rhythms... Double c., that in which 2
parts are so written as to be capable of
mutual inversion by an interval (octave,
tenth, etc.) determined beforehand...
Quadruple c., that written in 4 mutually
exchangeable or invertible parts. . . Sin*
gk c,, that in which the parts are not in-
tended to be mutually invertible...
Strict c,, that in which the entrance oi
(most) unprepared dissonances is for-
bidden. [The correctness of this defi-
nition largely depends upon what is
meant by " preparation". The disso-
nant intervals included in the chord of
COUNTRY-DANCECROOK:,
the dimin, 7th dimin. 7th and 5th,
augm. 2nd and 4th and also the dom-
inant 7th, are now allowed to enter
freely even in "strict" counterpoint;
and preparation is often effected by a
tone in a different part and octave from
the one in which the following disso-
nance enters.]. . . TripUc., counterpoint
in 3 mutually invertible parts. . . Two-
pari* Thm-part, Four-pan counter-
point, that in which 2, 3, or 4 parts are
employed.
Country-dance, A dance in which the
partners form two opposing lines,
which advance and retreat, the couples
also dancing down the lines and re-
turning to their places. The time
varies, some tunes being in 2-4, others
in 3-4 time-; the essential thing is, for
the strains to be in phrases of 4 or 8
measures, to accompany the several
evolutions. .
Coup d'arcnet (Fr.) A stroke of the
bow. . . Coup de (la} glotte, see Kehl-
scklag. . . Coup de ktngue, a thrust or
stroke of the tongue, tonguing ; double
coup de langue, double-tonguing.
Couper le sujet (Fr,) To cut or cur-
tail the subject
Coupler* (Ger. Kopptl; Fr. copula; It.
unione.) See Organ.
Couplet. I. Two successive lines form-
ing a pair, generally rhymed. 2. In
triple times, 2 equal notes occupying
the time of 3 such notes in the regular
rhythm ;
thus:
f
Coc'rant [Koo'-]. (Fr. courantt; It.
ccrrttfte.) An old French dance in
5-2 time; hence, the instrumental
piece called courwte, forming a part of
the Suite, ia which it follows the Alk-
mandt. Though the time-signature
calls for 3-2 time, measures in 6-4 time
often occur, especially at the close ; the
tempo is moderately rapid, and dotted
rhythms abound. The Italian corrente
is quite different from the above, its
chief feature being swift 'passages of
equal notes, whence the name torrents
("running* 1 ). The tempo is rapid;
time 3-8 or 3-4.
Conronne (Fr.) A hole ^).
Course, A group or set of strings tuned
in unison.
Covered. See Octave. ...Covered 'strings \
strings of silk, wire, or gut, covered by
a machine with spiral turns of fine sil-
ver or copper wire, the process being
termed " string-spinning."
Crackle. In lute-playing, to play the
chords brokenly (en batterie) instead of
simultaneously,
Cracovienne (Fr.) A Polish dance for
a large company ; hence, the music or
an imitation of the music employed,
which is in duple time with frequent
syncopations (rhythm
9 j*^ J
Also JCrakowiak, craeomak.
Cre'do. The third main division of the
Mass.
Crem'balum (Lat.) Jew's-harp,
Cremo'na. I. A name ordinarily ap-
plied to any old Italian violin made by
the Amatis, Stradivarius, or Guarneri-
us, at Cremona. 2. See Krwnmhom.
Crescen'do (It.) Swelling, increasing
in loudness. , . Cr. -pedal, see Pedal.
Crescen'dozug (Ger.) r. Crescendo-
pedal. 2. A kind of organ-swell with
shutters, a contrivance inv. by Abbe
Vogler.
Crescent ; also Chinese crescent, or
pavilion. (Ger. HaWmond; Fr.
chapeau chinois; It. cappel'lo 'chine* se.)
An instr, of Turkish origin used in
military music, consisting of several
crescent-shaped brass plates hung
around a staff and surmounted by a cap
or pavilion; around the plates little
bells are hung, which are jingled in
time with the music.
Cre'ticus (Lat.) A metrical foot con-
sisting of a short syllable between 2 v
long ones ( ^ ). ^
Cri'brum (Lat,). Soundboard (organ).
Croche (Fr,) An eighth-note. . . Crocfas
lUes, eighth-notes having the hooks
joined (J73).
Crochet (Fr.) The stroke of abbrevia-
tion across the f ^\
stems of notes \ )'
Croche'ta(Lat.) A crotchet, or quarter-
note (j). , . -,;,
Croisement (Fr.) Crossing (of parts).
Cro'ma (It.) An eighth-note.
Croma'tico (It.) Chromatic.
Cromor'na. (Ff.cromorne.)
korn t
Crook, .1. {Gsr.
CROQUE-NOTE-CZARDAS.
Fr, corps de rechange^ ton; It.
reserva.) A supplementary tube, which
can be rapidly fitted to the main tube
(or body) of a horn or trumpet, for the
purpose of lowering the pitch. Each
crook is named after the fundamental
tone to which it lowers the pitch of the
tube ; e. g. the -crook of an instr. in
jj>. 2. The S-shaped tube forming
the mouthpiece of a bassoon, and con-
taining the reed. 1 3. In the old harp-
action, a crotchet engaging a string
and raising its pitch by a semitone.
Croque-note (Fr.) A player of facile
execution, but little taste and judgment.
Cross-relation. See False relation,
Cro'talum (Lat.) A kind of clapper
used by the ancient Greeks to mark the
time of a dance.
Crotchet, i. A quarter-note ; cr. -rest,
a quarter-rest, 2. See Crook 3.
Crowd ; also Croud, Crouth. (Welsh
crwth; Lat, chrofta.) An ancient
bow-instr., apparently of Welsh or
Irish origin, and regarded as the oldest
European instr. of the class ; still found
early in the igth century among the
peasantry of Wales, Ireland and Brit-
' any. Its body was square, and termin-
ated, instead of by a neck, by 2 parallel
arms connected at the end by a cross-
bar, the centre of which supported the
end of the narrow fingerboard ; it had
originally 3, in modern times 6, strings,
4 lying over the unfretted fingerboard
and 2 beside it. The strings passed
over a bridge, whica rested on the
.belly between 2 sound-holes; the ac-
cordatura [GROVE] was as follows :
de over fingerboard,
fingerb.
Crucifixus (Lat.) Part of the Credo.
Crush-note. An acciaccatura.
Crwth. See Crowd.
C-Schliissel (Ger.) C-clef.
Cue* A phrase, from a vocal or instru-
mental part, occurring near the end of a
long pause in another part, and inserted
in small notes in the latter to serve as a
guide in timing its re-entrance.
Cuivre (Fr., " copper/') Brass; Its
cuivres (pi), the brass-wind. . .Fairs
cuivrer, to obtain a metallic, ringing
tone by half-stopping the bell of the
French horn with the right hand.
Cum sancto spi'ritu (Lat.) Part of the
Gloria.
Cu'po (It.) Dark, deep, obscure; re-
served.
Curran'to. See Courant.
Cushion-dance. A Scotch and English
round dance, in triple time, and per-
formed in single file; each dancer in
turn drops a cushion before one of the
opposite sex, at a regularly recurring
strain of the music, whereupon the two
kneel and kiss each other, after which
the dance proceeds as before.
Cus'tos (Lat.) A direct
Cuvette (Fr.) Pedestal (of a harp).
Cyclical forms. (Ger. cyclischt For-
men.} Forms of composition embrac-
ing a cycle or series of movements,
such as the old suite or partita, or the
sonata, symphony, and concerto.
Cylinder (Ger.) Valve (in horns, etc.;
usually Veniil).
Cymbale (Fr.) i. Cymbal. 2. A steel
rod bent to a triangle, and bearing a
number of rings, which are struck by
a steel wand, the cymbale itself being
dangled on a cord.
Cymbals, i. (Ger. BecKen; Fr. cy in-
hales ; It. piafti, dnel'li.) A pair of
concave plates of brass or bronze, varying
in size from finger-cymbals something
over an inch in diameter to the large
orchestral cymbals, which have broad,
flat rims, and holes toward the middle
for the insertion of the straps by which
they are held ; used in orchestral music
to mark time strongly, or to produce
peculiar often weird and thrilling
effects. One of the cymbals is oftea
attached on top of the bass drum, so
that one player can manipulate both
drum and cymbals. 2, In the organ,
a mixture-stop of very high pitch.
3. See Cymbale 2.
Cymljalum (Lat.), i. CymbaL 2. A.
' small drum of the medieval monks;
several such drums were tuned to form
a scale of an octave, and played like a
Glockenspiel.
Cym'bel. See Cymbal
Czakan (Bohemian.) A flute of cane or
v bamboo.
Czardas (Hung.; pron. tchar'dask.) A
national Hungarian dance, ' distin*,
54
CZIMBAL-DECISO.
guished by its passionate character am
changing tempo.
Czimbal (Hung.) A dulcimer.
Czimken (Pol.) A dance similar to the
country-dance. [STAINER. AND BAR
KETT.J
D.
D. i. (Ger. D; Fr. re*; It re.) The
2nd tone and degree in the typical dia-
tonic scale of C-major. (Comp.^ Alpha-
betical notation, and Solmisation^ 2.
Abbr. of Da (D. C.=da capo), and Da
(D.S,=dal segno).
Da (It.) By, for, from, ol...Da ca / fo 1
(a) from the beginning ; (ff) as an ex-
clamation, *' encore ! ".. .D. C. alfi'ne,
(repeat) from the beginning to the enc
(i, e. to the word Fine , or to a hold T*).
..D.C. alse'gno, (repeat) from the be-
ginning to the sign (ft $, T). ..D.C.
al segno, poi (se gue) la coda, (repeat]
from the beginning to the sign, then
(follows) the coda.. .D. C. dal 'segno \ re-
peat from the sign.. .D.C. sen'za re*-
fKca(oi senza ripetizio'ne), play through
from the beginning without noticing the
repeats. ..Da eseguir'si^ to be executed.
..Da iira/si ("for drawing out"),
means "with slide"; as tromba da
tirarsi^ slide-trumpet.
D'accord (Fr.) In tune.
Dach (Ger., "roof.") The belly of a
violin(usually Decke).. .Dach'schweller,
see Crescendozug 2.
Dac/tyl(e). (Lat. daStylw, a finger.)
A metrical foot of 3 syllables arranged
like the finger-joints, one long and two
short, with the ictus on the first
(-*w~).
Dactyl'ion, An apparatus inv. by Henri
Herz in 1835, consisting of 10 rings
hanging over the keyboard and at-
tached to steel springs ; used by pianists
for finger-gymnastics.
Daddy-mammy. A familiar name for
the roll on the side-drum.
DaVH, dai, dal, dall', dalla, dal'le,
daTlo (It) To the, by the, for the,
from the, etc.
Dal se'gno (It.) See Segno.
Damenisa'tion. (See Sotmisation.)
Graun's system of sol-faing with the
syjables da, me, ni, fo, tu, la, be,
winch are not (like do, re, mi, etc,) at-
fc?>ed to special scale-degrees, but sim-
ply repeated over and over in the above
order, whatever may be the notes sung.
Damper. I. (Ger. Ddm'pfer; Fr. tiouf-
foir ; It. sordi'no.) A mechanical de-
vice for checking the vibration of a
pfte.-string(see^'0w0/i7r&). . .Damper-
pedal, the right or loud pedal of the
pfte. 2. The mute of a brass instr.,
e. g. a horn.
Dam'pfer (Ger.) A damper or mute. . .
Ddm'pfung ("damping"), the damp,
ing-mechanism of the pfte.
Dance. (Ger. Tanz; Fr. danse; It.
dan'za.) A succession of rhythmical
steps, skips, or leaps, accompanied by
varying movements of the body, and
generally timed by music (in primitive,
nations, simply by beating on a drum
or the like).
Darm'saite (Ger.) Gut string.
Dash. i. A staccato-mark (J or f). 2,
In thorough-bass, a stroke'through a
figure, indicating the raising of the in-
terval by a semitone (jl tL etc.) 3. Same
as Coult 2. ' f
Dasian'-Notie'rung (Ger.) Hucbald's
system of noting a scale of 18 tones by
twisting and turning the letter F into
14 different positions and shapes, with
4 additional signs.
Dau'men (Ger.) Thumb.. .Dau'menauf-
satz, thumb-positions (in 'cello-playing).
Dead-march. A funeral march.
Decile, Deljole (It.) Feeble, weak.
D6but (Fr.) A first appearance. . . DS&u-
tant(e)> a male (female) performer or
singer appearing for the first time.
Decachord. (Fr. d&acorde.) 1. A 10
stringed instr., an ancient species of
harp or lyre. 2. An obsolete French
instr. of the guitar kind, 1 * iQ^r JQ
strings.
Oec'adfc). See Duodene.
Deca'ni. Comp. Cantoris.
De'cem (Ger. ) See Dedma 2
Wchant (Fr.) Discant.
D6cid(Fr.) See Deciso.
De'cima (Lat and It.) i. The interval
of a tenth. 2. An organ-stop pitched
a tenth higher than the 8-fco stops;
also called Tenth, or Double % *.
De'cime. See Deztme.
Decimo'le (Ger.) See Dccuph t
Deci'so (It.) Decided, enera* * with
decision.
DECKE-DRIV
55
Deck'e (Ger.) Belly (of the violin, etc.)
belly or soundboard (of the pfte.)
Declaman'do (It.) ' l Declaiming "; in
declamatory style,
Declamation. In vocal music, the cor
rect enunciation of the words, especially
in recitative and dramatic music. (Comp.
Deklamation.)
Decompose" (Fr.) Unconnected,
De*corapter (Fr.) To sing with a porta-
mento.
Dekouplez (Fr.) In organ-music, " un-
couple," "coupler off.
Decrescen'do (It) Growing softer;
diminishing in force. Sign m=a-
Dec'uplet. A group of 10 equal notes
executed in the time proper to 8 notes
of like value, or to 4 notes of the next
highest value ; marked by a slur over
or under which a figure 10 is set. (Also
De.cimole, Dezimole.)
Deduc'tio (Lat.) i. The ascending
series of syllables or tones in the hexa-
chords of Guido d'Arezzo. 2. Ace. to
later theoreticians, the resolution of a
dissonance to a consonance.
Defective. Same as Diminished.
Defiden'do (It.) Dying away.
De'gli (It.) Of the; than the.
Degree. (Ger. Stuff e, Ton'stufe; Fr.
degre f ; It. gra'do.) i. One of the 8
consecutive tones in a major or minor
diatonic scale. Degrees are counted
from below upward, the key-note being
the first degree. 2. A line or space of
the staff. 3. A step. (The prevailing
confusion of the terms degree and step
might be obviated by applying degree
only to the tones, and step only to pro-
gression between conjunct tones, of the
scale ; the expressions whole step, half-
step, and step and a half, are quite super-
fluous.). ..Scale-degree, a degree of a
scale.. . Staff-degree, a degree on the staff.
Deh'nen (Ger.) To expand, extend ; to
prolong, . .Deh'nung, expansion, ex-
tension, prolongation ; Deh'nungs-
strich, in vocal music, a line of contin-
uation after a syllable, indicating that it
is to be sung to all notes over the line ;
dots are sometimes used instead . . .
Gedehnf, extended, prolonged ; hence,
slow, stately.
Dei (It.) Of the ; than the.
Deklamation' (Ger.) Musico-poetical
scansion. " In vocal composition, the
transformation of the poetic rhythm
(metre) into a musical one ; a song is
badly deklamiertf when an unaccented
syllable receives a strong musical
accent or a long note ; or when an
accented syllable, or a word rendered
prominent by the sense, receives a sub-
ordinate position in the melody on a
weak beat or in short notes." [RIEMANN.]
Del, dell', del'la, del'le, dello at.) Of
the ; than the.
D&assement (Fr.) A piece or perform-
ance of a light and trifling character.
Deliberatamen'te (It.) Deliberately...
Delibera'to, deliberate.
Delicatamen'te, con delicatez'za (It)
Delicately. ..Delica'to, delicate; in a
delicate, refined style.
Delie" (Fr.) Non legato; leggero*
Deli'rio (It) Frenzy ; con d. , with fren-
zied passion.
Delivery, Style (method and manner of
singing); restrictedly, the enunciation
of a singer.
De'manche', Demanchement (Fr.) "Off
the neck"; the thumb-positions in
'cello-playing.. .D/manchcr, to quit the
neck of the 'cello.
Demande (Fr.) "Question," L e. the
subject of a fugue. (Usually sujet.)
Demi (Fr., "half".) DemMton, 2-
measure rest... Demi-cadence, half-ca-
dence... Demi-croc he, a i6th-note...
A demi-jeu (a direction found mostly in
reed-organ or harmonium-music), with
half the power of the instr. , mezzo forte.
. .Demi-mesure, half-measure. . .Demi-
pause, half -rest. .Demi-quartdesoupir,
a 32nd rest,. Demi-soupir, an eighth-
rest,. Demi-temps, a half-beat... Demi-
ton, a semitone.
Demiquaver. A i6th-note.. .Demise-
m'iquaver^ a 32nd-note. ..Demitone*
rare for Semitone.
Demoiselle (Fr.) Tracker.
Dependent chord, harmony, triad.
One -which is dissonant, requiring reso-
lution to a consonant one ; opp. to In-
dependent.
Depress. To lower (as by ajj or [?|j)...Zfc-
pression, chromatic lowering of a tone.
Derivative. I. Same as derivative chord,
i/ e. the inversion of a fundamental
chord. 2. The root of a chord,
DenveXe) (Fr., "derived, derivative".)
, Accord derive*, inverted chord (also
simply dirvvl> an inversion).. .Mesure
DES DIAPASON.
e> any measure indicated by 2
figures (2-4, 3-8. etc; ) as being derived
from, L e, a fractional part of, a whole
,
Des(Ger,) Dfc , . Jfc/tf,
Des'cant. See Discant.
Descend. To pass from a higher to a
lower pitch. . .Descent, descending pro-
gression.
Deside'rio (It.) Desire, longing. . .Con
</., in a style expressive of longing >
yearning.
De*sinvoltnre, avec (Fr.) See Disin-
volto.
Dessin (Fr.) The design, plan, or struc-
ture of a composition.
Dessus (Fr.) I. Soprano or treble, i. e.
the highest vocal part. 2. ^Earlier
name for the violin (dessus de vide}.
De'sto(iy Sprightly.
De'stra (It)* . Right... Met no destra,
right hand (also dtstra mano> colla de-
stra) ; a direction in pfte.-playing, sig-
with the right hand. (Abbr. m. d., or
D&acHe" (Fr.) In violin-playing, de-
tached, i. e. playing successive notes
with alternate down-bow and up-bow,
but not staccato... Grand detackf, a
* whole (stroke of the) bow to each note.
Detennina'to(It) Determined, resolute.
Detonation 7 (Ger.), D&onnation (Fr.)
False intonation, singing out of tune. . .
Detonieren (dttonner), to sing false ;
especially, to flat (gradually lower the
pitch) in a cappella, singing.
Dtet'to (It) Aforesaid ; the same.
Detttsch (Ger.) German . . . Deu'tsche
Fl$te^ the orchestral flute. . .Deuftscher
Bass, an obsolete kind of double-bass,
saving from 5 to 6 gut strings. . .Deu-
tscke Tabulatur', see Tablaiure*.*
Deutsche Ttin'ze^ German dances, i. e.
the old-fashioned slow waltzes,
Deux (Fr.) Two... .4 deux mains, for
'2 1naabds.. t jDeux*2uafre, 2-4 (see Me-
- 3urt)*..Dtux-UmpSt or Valse a deux
* temp$> a quick waltz, with 6 steps to
every 2 of the ordinary waltz (trois
Deuxieme position (Fr.) Half-shift.
Development. (Ger. DurcKfUhrung,}
- The working-out or evolution of a
theme by presenting it in varied melo-
dic, harmonic, or rhythmic treatment j
ordinarily applied to formal composi*
tions like the fugue or sonata.. (See
Form*)
Devo x to (It.) In a devotional style (con
devozio'nt).
Dex'tra (Lat.) Right . . . Manus d. % right
hand. . .Manu d< t with the right hand.
De'zem (Ger.) See Dedma.
De^ime (Ger,) The interval of a tenth.
Di (It.) Of, from, to, etc.
Diagram'ma (Gk.) A diagram, i. The
Greek written scale of 15 notes, divided
into the various tetrachords. 2. In
old music, the staff and the scale writ-
ten on it ; also, a score or partition.
Dia'logo (It.), Dialogue (Fr.) A duet
for 2 solo voices or divided chorus ; or
a similar instrumental piece*
Diapa'sort (Gk.) An octave (in ancient
Greek and in medieval music). . .Dia-
fason diafentf, or diapason con dia-
fente, an octave plus a fifth, a twelfth.
. iDiap. diatessaron (diap. ^ con diates-
saron)t an octave plus a major fourth, a
major eleventh . . . Diap. ditone, an oc-
tave plus a major third, a major tenth.
. .Diap. semi-ditone^ an octave plus a
minor third, a minor tenth.
Diapa'son (EngL) I. ^An octave,--2.
Either of the 2 principal foundation-
stops of the organ, the open diapason
and the stopped diapason, both com-
monly of 8-foot pitch; if there are 2 op.
diap.s on a manual, one is sometimes of
1 6' pitch ; pedal-diapasons are generally
1 6' stops. The open d. has metal pipes
open at the top, and usually of large
scale, though the scale differs when 2
or more diapasons are on one manual ;
the tone is bright, full, and sonorous.
..The stopped d. has wooden pipes of
large scale, closed at the top by wooden
plugs, and yielding a powerful fluty,
and somewhat hollow, tone. 3. Com-
pass of a voice of instr. ; chiefly poetical.
Diapason (Fr.) 1. Compass of a voice
or .instr, 2. A rule or scale, ace. to
which makers of various instr.s regu-
late the size of the latter, and that of
their parts. 3. An organ-stop (dia-
pason). 4. A tuning-fork or pitch-pipe.
5. Absolute pitch... Diapason nor-
mal, the standard pitch ori
scale adopted in 1859 by the |
French Academy, in which a 1
has 870 single or 435 double vibrations
per second of time (so-called "inter-
national pitch ").
DIAPENTE DIMINISHED
57
Diapen'te (Gk. and Lat.) The interval
of a fifth. . .D. cum ditono, a major 7th.
. .D. cum semiditono, minor 7th. . ,D.
cum semitonio, minor 6th... D. cum
tono, a major 6th.
Diapenter (Fr.), Diapentisa're (It.)
To progress by skips of a fifth.
Diaph'ony. (Gk. diaphoni'a.) i. A dis-
sonance. 2. See Organum.
Diaschis'ma (Gk.) The difference be-
tween the second tierce below the 4th
quint in the descending" circle of fifths,
and the 3rd octave below the given tone
(c:d\)\> 1:2025: 2048).
Diaste'ma (Gk.) An interval.
Diates'saron (Gk.) The interval of a
fourth.
Diatonic, i. See Greek music, 2.
2. (In modern usage.) By, through,
with, within, or embracing the tones of
the standard major or minor scale . . .
Diatonic instr., one yielding only the
tones of that scale of which its funda-
mental tone is the key-note. . .Diatonic
. interval, one formed by 2 tones of the
same standard scale.. .Diatonic har-
mony or melody ',' that employing the
tones of but one scale. . .Diatonic mod-
ulation^ see Modulation. ..Diatonic
progression, stepwise progression within
one scale., , Diatonic scale ^ see Scale.
Diau'los (Gk.) A double aulos, the
tubes meeting in an acute angle, and
connected by and blown through a com-
mon mouthpiece.
Diazeuc'tic (Gk.) Disjoined (see Greek
music, i). . .Diazeu'xis, the separation
of 2 neighboring tetrachords by the in-
terval of a tone ; alsp, the tone itself,
Di^brach, Di'brachys. A metrical foot
consisting of 2 short syllables (^ ~) ; a
pyrrhic.
Di'chord. I. An ancient species of
harp or lute having 2 strings. 2. Any
instr. having 2 strings to each note,
Dicho'ree, Dichore'us. A double cho-
ree or trochee ; a metrical foot consist-
ing of 2 long and 2 short syllables in al-
ternation ( ^ ~).
Dicte"e musicale (Fr:, "musical dicta-
tion".) A modern method of training
the faculty of musical apprehension, in
which the teacher plays or sings short
phrases which the pupils take down on
paper.
Diecet'to (It.) A piece for 10 instr.s.
Diesa're (It.) To sharp... Die' sis, a
sharp.
Die*ser (Fr.) To sharp. . . Diese, a sharp.
Dies ira (Lat. , ' ' day of wrath ".) The
sequence of the Missa pro defunciis ;
it now forms the 2nd division of the
Requiem.
Di'esis (Gk.) I. The Pythagorean
semitone (later Limma), which is the
difference between a fourth and 2
greater whole tones, =256:243. 2. In
. modern theory, the difference between
an octave and 3 major thirds, the mod-
ern enharmonic diesis (128:125),
Diezeug'meflon (Gk.) Disjoined (see
Greek music, i).
Difference-tone* See Acoustics.
Differentia (Lat.) The differen'tia
tono'rum in the medieval Gregorian
chants were the different forms of the
cadences or tropes to the Seculo f rum
a' men, according to the tone to which
transition was to be effected. (Also
disiinctio^)
Diffi'cile (It.), Difficile (Fr.) Difficult
Digital. A key on the keyboard of the
pfte., organ,. etc.; opp. to pedal (fin*
ger-\Aj opp. to foo /-key).
Digito'rium, A small portable appara-
tus for exercising the fingers, resem-
bling a diminutive piano in shape, and
having 5 keys set on strong springs ;
sometimes called Dumb piano.
Di gra'do (It.) (Progression) by de-
grees, step-wise.
Diiamb', Diiam / bus. A double iam-
bus ; a metrical foot consisting of 2
short and 2 long syllables in alternation
. An amateur.
Diligen'za (It) Diligence, care.
Dilli'diura (Lat.) An interlude, espe-
cially that between the separate lines of
chorals.
Diluen'do (It.) Decreasing in loudness,
dying away.
Dim / eter. i. Consisting of 2 measures ;
divisible into 2 feet. 2. A verse or
period consisting of two feet
Diminished. (Ger. verkld'nert; Fr. di-
minu/(e) ; It, diminu f to.) Dim. inter-
val, a perfect or minor interval con-
tracted by a chromatic semitone. , .Dim.
4 chord, a chord, the highest and lowest
tones of which form a dimin. interval.
..Dim. subject or tJieme-, one repeated
DIMINUENDO-DISSONANCE.
or imitated in diminution. . .Dim. triad,
a root with minor third and dimin. fifth.
Diminuendo (It) Diminishing in loud-
ness, . .Dim. pedal, see Pedal
Diminner (Fr.) To diminish (in loud-
ness}...^ diminuant beaucoup, ?=.&.-
minuendo molto.
Diminution. (Ger. Verklei'nerung ; Fr.
diminution; It. diminuzio'ne.) I. The
repetition or imitation of a theme in
notes of smaller time-value (}, ^, or
% that of the original). 2. See Nota-
tion, 2.
Dioxia (Gk.) Less common term for
Dip. The vertical fall of a digital or pedal
when depressed to the full extent : also
key-fall
Dipho'nium (Lat) A composition for
2 voices.
Diphtho'nia. A vocal anomaly produced
67 inflammatory nodules seated on the
vocal cords, which on closure of the
latter divide the glottis into an anterior
and a posterior half, so that 2 tones are
sounded on singing, instead of one.
Diplas'ic. Two-fold... A foottx rhythm,
that in which the thesis has twice the
length of the arsis,
Dip'ody. A group of 2 similar metrical
feet, ^or ^ double foot, especially when
constituting a single measure.
Direct. I. (Ger. and Lat. Cus'tos ;
Fr. guidon ; It. gui'da, mo'stra) The
sign /w or </ set at the end of a staff to
show the position of the first note on
the text ^staff. (N. B. The Germans
often use it as a mere mark of continu-
ation equivalent to "etc.", without
reference to the pitch of any note.) 2
See Motion and Turn.
Directeur (Fr.) Conductor, director
Dirge. A funeral hymn, or similar
music.
Diriment' (Ger.) Conductor, director.
Dinger (Fr.), Dirigie'ren (Ger.) .To
direct, conduct.
Dirit'to r a (It.) Direct, straight, , .Alia
(hrtffa, in direct motion.
Dis(Ger,) T>$...Disis, Dx.
Dis'cant i. (Lat. discan'tus ; Ger.
Diskanfj Fr. dechant.) The first at-
tempts at polyphony with contrary mo-
tion in the parts; beginning in the I2th
century; opp. to the organum. in
which parallel motion was the rule.
2. (Fr. dessus.) Treble or soprano
voice; the highest part in part-music.
Discord, r. A dissonance. 2. Caco-
phony.
Discrete (It.) Discreet ; comparatively
subdued... Discrezio'ne, discretion; con
discrezione, with discretion or due re-
serve ; with judicious subordination to
a leading part or parts.
Disdiapa'son (Gk., Lat.) In medieval
music, the interval of a double octave.
Dis'dis (Ger.) D x (usually Disis).
Disinvol'to (It.) Free, easy, graceful.
. . Con disinvoUu'ra, with ease, grace ;
Dis'is (Ger.) D x . [flowingly!
Disjunct'. (Fr. disjoint,-*^ See Motion,
Tetrachord (disjoined).
Diskant x (Ger.) i. Discant, treble.
Diskant'geige, the violin (the treble
instr. of its class). . .Diskantisf, treble
singer, . . Diskanf register, Diskanf,
stimmt, in the organ, a half-stop (also
HaVbestimme). , .Diskanf schlussel, so-
prano-clef.
Disparate, in (It.) Aside.
Dispera'to (It.) Desperate, hopeless. . .
Disperazio'ne, con, in a style expres-
sive of desperation or despair.
Dispersed. See Harmony.
DisponMee, Disponde r us. A double
spondee; a compound metrical foot
containing 2 spondees.
Disposition 7 (Ger.) The D. of an organ
is properly the preliminary estimate of
its cost, fixing the varieties of stops,
number of manuals, etc.; but also
signifies a concise description of the
working parts of a finished organ,
especially an enumeration of the stops,
couplers, combination-stops, etc.
Disposition (Fr,) Gift, talent, genius.
Dissonance. (Ger. Dissonant*; Fr.
dissonance; It. dissonan'za.) i. In
theory, the simultaneous sounding of
tones so Temotely related that their
combination produces beats. 2. In
practice, a combination of 2 or more
tones requiring resolution; opp. to
Consonance.. .Dissonant, consisting of
tones forming a dissonance 2 ; opp. to
consonant. . .Dissonant interval, 2 tones
forming a dissonance. The dissonant
intervals are the seconds and their in*
versions, the sevenths, also all dimin-
ished and augmented intervals.. .
DISSONARE DOH.
sonant chord, a chord containing one
or more diss. intervals.
Dissona're (It.) To be dissonant, to
form a dissonance.
Distance. Interval. [Seldom used.]
Distan'za (It) An interval ; distance.,.
In disianza, at a distance, marking
music to be performed as if far away.
Dis'tich. A group of 2 lines or verses ;
usually called couplet in modern rhym-
ing versification.
Distinc'tio (Lat.) I. In Gregorian music,
the pauses or breaks dividing vocal
melodies into convenient phrases. 2.
See Differentia.
Distin'to (It.) Distinct, clear. ..Di-
stintamen'te, distinctly.
Distona're (It.) To sing or play out of
tune ; also sionarc.
Dit'al. A key which, on pressure with
the finger or thumb, raises the pitch of
a guitar-string or lute-string by a semi-
tone; opp. to pedal. ..Dital harp, a
chromatic lute shaped like a guitar,
having from 12 to 18 strings, each con-
trolled by a dital to raise its pitch by a
semitone; inv, by Light in 1798, and
later improved by him. (Comp. Klavier-
Harfe.)
Diteggiatu'ra (It.) Fingering.
Dith'yranib, Dithyrara'bus. A form
of Greek lyric composition, originally
a hymn in praise of Dionysus ; later
greatly modified. Its leading char-
acteristics were a lofty enthusiasm,
frequently degenerating into bacchantic
wildness (whence the adj. dithyram' bic\
and the irregular form of its strophes,
no two of which were identical.
Di'to(It) Finger./
Ditone, (Lat. di'tonns; Fr. diton.) A
Pythagorean major third of 2 greater
whole tones (81 : 64) ; wider by a
comma than a true major third (5 ' 4).
Ditro'chee, Ditrocha'us. A compound'
metrical foot consisting of 2 trochees
( -^ ^ - ^) ; also Dichoree.
Ditty. A short, simple song.
Divertimen'to (It.) j x- A slaort poem
Divertissement (Fr.) J set to music,
and interspersed with songs and dances,
for some special occasion. 2. Light and
easy pieces of instrumental music, such
as variations, potpourris, etc. 3. An
instrumental composition in 6 or 7
movements, similar to a serenade or
cassation, 4. An entr'acte in an opera,
or between compositions of consider-
able length, in the form of a short
ballet or other entertainment. 5. Epi-
sode in a fugue ; development of a
principal theme.
Divide. To play divisions.
Divi'si (It.) Divided. A direction in
scores signifying that 2 parts appearing
on one and the same staff are not to be
played as double-stops, but by the
division into two bodies of the instr.s
playing from that staff. The return to
the unison is marked by the direction
a due, (or by #., or a 2).
Division. A " dividing-up " of a mel-
odic series of tones, vocal or instru-
mental, into a rapid coloratura pas-
sage ; if for voice, the passage was to
be sung in one breath. (Obsolete.) . . *
7!? run a division, to execute such a
passage... Division-viol, the Viola da
gamba.
Division-mark. A slur connecting a
group of notes, and provided with a
figure indicating their number, show-
ing that their rhythm differs from the
ruling rhythm of. the piece ; as for a
quintuplet, triplet, etc.
Divo'to, Divotamen'te. See Devoto.
Dixieme (Fr.) The interval of a tenth.
Do. The Italian name for C; supposed
to have been introduced by BononcinJ
in" 1673. It is now also generally
adopted in -France instead of the
Aretinian Ut.
Do. In solmisation, the usual syllable-
name for the ist degree of the scale.
In the^r/-/?<7inetho/i of instruction,
Do is the name for all notes bearing the
letter-name C, whether key-notes or
not. In the movable-Do method, Do
is always the key-note, whatever key is
sung in or modulation reached. In the
Tonic Sol-fa system, spelled Doh.
Doch'mius. A metrical foot consisting
of 5 syllables (*- ~* ^ ).
Doctor of Music. See Bachelor.
Dodecachor'don (Gk.) i. See Bisstx.
2. A treatise by Glareanus (1547) on
the theory of the 12 keys or modes.
Dode'cupla di cro'rne (It) 12-8 time ;
di semitrome, 12-16 time,
Dodec'uplet, A group of 1 2 equal notes
to be performed in, the time of 8 in the
regular rhythm.
Doh. See Do
6o
DOI-DOT.
Do'i(It.) Same as Due.
Doigt (Fr.) Finger... Doigt/^ fingered
.*Doigte\ or doigter, fingering; doig
Us four c hits ^ cross-fingerings.
Doi'can. See Dukia'na.
Dorce (It.) i. Sweet, soft, suave ; dol
cemen'it, sweetly, softly. 2. A sweet
toned organ-stop,
Dolcez'za (It.) Sweetness, softness
con </., softly, gently.
Dolcian' (Ger.), Dolcla'na, Dolcia'no
(It.) I. A species of bassoon in vogue
during the i6th and lyth centimes. 2,
In the organ, a reed-stop of 8 or 16-
foot pitch ; a fagotto.
Dolcia'to (It.) See Raddoldato.
Dolcis'simo (It.) Very sweetly, softly.
..Also, a very soft-toned 8-foot flute-
stop in the organ.
Dplen'do, Deleave (It.) Doleful, plaint-
ive, sad. . .Dolentemen'te, dolefully, etc.
Dolo're (It.) Pain, grief ; con dolore, in
a style expressive of pain or grief;
pathetically (also dolorosamen'te, dolo-
ro'so).
Dolz'fiote (Ger.; Fr. flute douce; It.
fla'uto dol'ce.) i. An obsolete trans-
verse flute, having a half-plug within
the embouchure. 2. In the organ, an
open flute-stop of rather narrow scale
and 8-foot pitch.
Dom'chor (Ger.) Cathedral-choir.
Dominant, i. (Ger., Fr., and It.
Dominan'te.) The fifth ^>ne in the
major or minor scale.. *D. chord, (a)
the dominant triad ; (b) the dom. chord
of the 7th. . ,>. section^ of a movement,
a section written in the key of the domi-
nant, lying between and contrasting
with two others in the key of the tonic.
. .D. triad) that having the dominant as
root. 2. The reciting-tone in the Gre-
gorian modes.
Dona nobis pacem. See Mass.
Doodlesack. See Ger. Dudelsack.
Do'po(It.) After.
Dop'pel- (Ger.) Double,.. Dop'pd-B,
Dop'ptlbe, the double-flat. ..Dop'pel-
blatt, double reed. . -Dop'pelchor, double
chorus . . . Dop'pel fagott, double-bassoon.
' (Dmfidte
.
(Dmfidte\ (It. fla'uto
doppia\ an organ-register of 8- foot
stopped pipes, each pipe having 2
mouths, 2 windways, etc, , one on either
side (behind and in front) like the .#/-
fora t but at exactly the same height, so
that the tone does not beat, but is
merely reinforced . . . Dop'pelflilgel) see
Vis-h-ms..*Dop'pelfuge, a double fugue
or canon. . .Dop'pelgeige, viola d'amore.
-. .Dop'pdgriff, double-stop (on the vio-
lin), paired notes (on keyboard-instr.s ;
e. g. thirds, sixths, and octaves)...
Dop'peloktaw, double octave. . .Dop'-
pelpunki, double dot (&>)... Dop'pel *
quintpommer, a large variety of \x>m-
\svx&. t .Dop'pelschlafr a turn....A^'-
pehunge, double-tongning. .
D op'pio (It.) Double . . . D. movimenfto,
twice as fast...Z>. no'te^ d. valo're,
twice as slow (absolute time-value of
notes is doubled). . .D.peda'le (in organ-
playing), the pedal-part in octaves...
Doppio signifies, with names of instr.s,
larger in size and consequently deeper
in tone.
Do'rian or Dor'ic mode. See Mode.
Dot. (Ger. Punkt; ^. point; It. fun' -
io.) i. A dot set after a note prolongs
its time-value by half (d* = d J) ; a
second dot or third dot prolongs the
time-value of the dot immediately pre-
ceding it by half (J.. . ^ J J J"A
(The dot after ^.noteupon a line is pre-
ferably written above the line when the
next note is higher, below the line when
it is lower ;
The dot of ^ prolongation was formerly
often set in the next measure, quite
away from the note ; e. g.
- x X
|S
which we now write :
2. A dot set over or under a note in-
dicates that it is to be executed staccato:
(J p ; a slur connecting several such
dots calls for the mezzo-staccato. (Some-
times, especially in earlier authors, the
staccato-dot calls rather for a sforzando
than a stacfato ) 3. In old musio, sev-
eral dots set above a note indicate that
it is to be subdivided into so many short
notes ( f = Hyp ; now used over a
tremolo-sign in violin-music to mark
DOUBLE DrfAMMA.
61
the exact subdivision of the large note
). 4. Two
or four dots
set in the spaces of the staff, before or
after a double-bar, form a Repeat.
Double, i. A variation. 2. A repetition
of words in a song. 3. In organ-play-
ing, a 1 6-foot stop (as accompanying or
doubling the 8-foot stops in the lower
octave). 4. In the opera, etc., a sub-
stitute singer. 5. (Also Grandsire) In
change-ringing, changes on 5 bells. 6.
As an adjective with names of mus.
instr.s, double signifies "producing a
tone an octave lower " ; e. g. doitbk-
bassoon^ double-botirdon, etc. 7. The
verb double signifies, to add (to any
tone or tones of a melody or harmony)
the higher or lower octave.
Double (Fr.) i (pi. doubles). See
Variation. 2. The altemativo in a
minuet, when merely a variation of
the principal thems and retaining the
harmonic basis of the latter. 3. As an
adjective, double ; as double-ban *<?,
double-bar ; d. coup de langue, double-
tonguing ; double-croche^ a l6th-note ;
etc ... Double - corde^ double-stop . . .
Double-main, an octave-coupler (organ).
..Double-octave, double octave.. Don-
ble-touche, a mechanism in the keyboard
of harmoniums, etc., for adjusting the
key-fall at 2 different levels, with corre-
sponding differences in the degree of
loudness of tone produced... Double-
triple, 3-2 time.
Double* (Fr.) A turn.
Double-bar. (Ger. Dop'peltaktstrich,
Schluss'striche; Fr. doubh-barre; It.
dop'pio bar'ra.) I. The two thick
vertical strokes drawn across the staff
to mark the end of a division, (repeat),
movement, or entire piece. 2. Two
thin vertical lines
(bars) dividing one w ( 2 )
section of - a move- u__
ment from the next =flg
section:
Double-bass. (Ger. Kon'trabass; Fr.
contre-basse; violonar; It. contrabbas' '-
so.) The largest and deepest-toned
instr. of the violin family (with the ex-
ception of the rare contrabbasso doppio
and the Octobass), with either 3 strings
(Gi'D-A being the Italian,^] -D- 6- the
English accordatura), or 4 strings
(tuned Ei-Ai-D-G). Compass:
(the German tuning).
Double-stop. (Ger. Dop'pelgriff; Fr.
double-corde; It. dop'pia ferma'ta.) In
violin-playing, to stop 2 strings to-
gether, thus obtaining 2-part harmony.
Double-tongue. (Ger. Dop'pekunge;
Fr. double coup de langue.) In play-
ing the flute, and certain brass instr.s,
applying the tongue in rapid alterna-
tion to the upper front teeth and the
hard palate, to obtain a clear-cut and
brilliant staccato. (Also
'
Double-trouble. A step peculiar to the
"breakdown."
Doublette (Fr.) A 2-foot organ-stop,
octave of the principal.
Doublophone. A combined Euphoni-
um and Valve-trombone, with one com- '
mon mouthpiece ; a valve operated by
the left thumb throws the current of
air from the mouthpiece into the tube
of either instr. at will. Inv. by Fon-
taine Besson of Paris in 1891.
Doublure (Fr.) See Double 4 (Engl.)
Doucement. (Fr.) Gently, softly. . .
Deux, douce > soft, gentle, sweet.
Douzieme (Fr.) The interval of a
twelfth.
Down-beat. \. The downward stroke
of the hand in beating time, which
marks the primary or first accent in
each measure. 2. Plence, the accent
itself (thesis, strong beat).
Down-bow. (Ger. Herunterstrich; Fr.
tirez; It. arco in giu.) In violin-play-
ing, the downward stroke of the bow
from nut to point ; on the 'cello and
double-bass, the stroke from nut to
point ; usual sign p|.
Doxology (Gk.) A psalm or hymn of"
praise to God ; especially the Greater
D. (Gloria in excelsis Deo), and the
Lesser D. (Gloria Patri, etc.)
Drag. I. A rallentando. 2. A de-
scending portamento in lute-playing.
Draht'saite (Ger.) Wire string.
Dramatic music, i. Same as Program-
music. 2. Music accompanying and
illustrating an actual drama on the
stage,
Dram'ma (It.) Drama. D. li'rico^ a
lyric drama. . .D. musica'le^ a music-
62
DRANGEND DULCIMER.
drama > opera... D. per mu'sica, a
musical drama, opera.. .Drammatica-
mtnftt, -dramatically. . .Drammaftico,
dramatic.
Drang'end (Ger.J Pressing, hastening,
hurrying.
Draw-stop. In the organ, One of the
projecting knobs within easy reach of
the organist, which, when drawn out,
shift the corresponding slides so as to
admit wind to the grooves communicat-
ing with a set of pipes or a combination
of stops, or else effect a coupling.-
Draw-stop action, the entire mechan-
ism controlled and set in operation by
the draw-stops.
Dreh'er (Ger.) An obsolete variety of
waltz resembling the Landler, of Bo-
hemian or Austrian origin, in 3-8 or
3-4 time.
Dreh'orgel (Ger.) A barrel-organ.
Drei (Ger.) Three... Dreifchorig, (a)
for 3 choirs ; (b) trichord (said of a
pfte.), ..Drti'gcstrichen, 3-Iined, thrice-
accented. . .Drti'klang, a triad. . .
three-r>art, in 3 parts,
for 3 voices.
Drit'ta (It.) See Uiritto.
Driving-note, Syncopated note. (Ob-
solete.)
Drpit(e) <Fr.) Right... Main droite,
right hand (abbr. ;//. d.)
Drone. (Ger. Stim'mer t Bordwi'; Fr.
bourdon; It. fordo* ml) In the bag-
pipe, one of the continuously sounding
pipes- of constant pitch. (Also see
Drone-bass.)... Drone-bass^ a bass on
the tonic, or tonic and dominant, which
is persistent throughout a movement
or piece, as in the Musette 2. , .Drone*
fipe, same as Drone.
Drfick'balg (Ger.) Concussion-bellows.
Druck'er (Ger.) A specially brilliant
(sometimes a forced) effect; einen
Drucker aufsetsen^ to bring out such
an effect.
Drfi'cker (Ger.) See Steelier.
Druck'werk (Ger.) An organ-action
operating by the pressure of stickers on
the remoter parts of the mechanism,
(See Zugwerk.)
Drum. An instr. of percussion, consist-
ing of a hollow body of wood or metal,
over one or both ends of which a mem-
brane (the head) is stretched tightly by
means of a kwp< to which is attached an
endless cord tightened by leathern
braces, or by a system of rods and
screws. The two chief classes of drums
are the rhythmical (those employed to
vary and emphasize the rhythm), and
the muncal (those capable of produc-
ing a mus. tone distinct in pitch). The
commonest forms of the first class in
modern use' are : (i) The side-drum
(Ger. Trommel; Fr. tambour; It, tarn*
buro)\ it has a cylindrical body of
wood or metal, and 2 heads, is slung
across the left thigh, and only the up-
per head is beaten with the 2 drumsticks;
when gut strings (snares) are stretched
across the lower head, the instr. is
called a snare-drum. (2) The bass
drum (Ger.grosse Trommel; Jr. gross*
caisse; It. gran cassa, gran tamburo),
similar in form to I, but much larger,
and beaten on one or both heads with
a stick having a soft round knob at the
end. (3) See Tambourine, . .The sole
representative of the second class is the
Kettledrum (which see).
Duc'tus (Lat.) A series of tones in
stepwise progression ; as d. rec'tu$ l
ascending ; d. rever'tens^ descending ;
d. tircumcur'rtns^ first ascending and
then descending.
Du'delsack (Ger.) Bagpipe.
Du'e (It.) Two...X^w, signifies (i)
for two ; as a due voci, for 2 parts or
voices ; (2) both together (see Divisi).
..Due corde, "two strings"; se
Cor da.,. Dm volte, twice, . ./ due jpt-
dali, both (pfte.-) pedals at once.
Duet'. (Ger. Duetf; Fr. dm; It. duef-
to.) I. A composition for 2 voices or
instns. 2. A composition for 2 per-
formers on one instr,, as the pfte, 3.
A composition for the organ, in 2
parts, each to be played on a separate
manual.
Duettftio (It., dimiri. of duetto.) A
short and simple duet.
Dulcian' (Ger,) See Dolcum.
Dulcian^a. I. An organ-stop having
metal pipes of narrow scale and yield-
ing a somewhat sharp, thin tone. 2. A
reed-stop of delicate tone. 3. A small
bassoon.
Dulcimer. (Ger. ffatWrett; Fr. (rw-
paiwn ; It. cem'balo.) A very ancient
stringed instr., greatly varying in con-
struction and form ; typical character-
istic, the wire strings stretched over a
soundboard or resonance-box and struck
DUMB PIANO-DURUS.
63
with mallets or hammers. In the modern
forms the string-tension is regulated by
wrest-pins, and the mallet-heads have
one soft and one hard face, which pro-
duce different effects - (&
of tone. Compass 2 fl LJE.
to 3 octaves, g to g*:
The dulcimer was the
precursor, and is often called the proto-
type, of the pianoforte. See Pantalon.
Dumb piano. An instr. like a small
piano in form, having a keyboard of
narrow compass, but neither hammers
nor strings ; intended for silent finger-
practice, i. e. merely for increasing the
mechanical dexterity of the fingers
(Comp. Digitorium, and Virgil Prac-
tice-Clavier) . . .Dumb spinet, see Hani-
chord*
Dummy pipes. Pipes which do not
speak, displayed in the front of an
organ.
Dump. An obsolete dance in slow tempo
and common time.
Du'o (It. and Fr.) A duet. (In English
usage, duo is sometimes distinguished
from duet by applying the former term
to a 2-part composition for 2 voices or
instr.s of different kinds, and the latter
to such a composition for 2 voices or
instr.s of the same kind.)
Duode'cima (It.) i. The interval of a
'twelfth. 2. A Twelfth (organ-stop).
Duodecimo'le (Ger.) Dodecuplet,
Du'odene. A 12-tone group composed of
4 trines, applied to the solution and
correction of problems in temperament
and harmony. A duodefnal is the sym-
bol of the root-tone of a duodene. The
term (as also Trine, Decad, Heptad,
Heptadecad, etc.) is the invention of A.
J. Ellis, a full explanation of whose
system of acoustics will be found in his
original Appendices to the Second Eng-
lish Edition of Helmholtz's work " On
the Sensations of Tone," (1885, trans-
lated by Ellis himself).
Duodra'ma, (It. duodram'ma) A kind of
melodrama, or spoken dialogue accom-
panied by the orchestra.
Duo'i (It.) Same as Due.
Duole (Ger.) Couplet 2.
Duo'lo (It.) Grief, sadness, melancholy.
Du'pla (proportio). See Notation, 3-
Duple. Double... D. rhythm, rhythm
of 2 beats to a measure.
Dur (Ger.) Major.
Our,-e (Fr.) Harsh, unpleasing in tone.
Duramen'te (It.) Sternly, harshly.
Durch'fiihrung (Ger.) In a general sense,
the mus. construction or working-out of
a movement ; specifically, the develop-
ment of a theme, as in the fugue or
sonata. (See Development, Form.)
Durch'gang(Ger.;Lat. tran' situs.) The
11 passage or progression of one prin-
cipal tone to another through a tone or
tones foreign to the harmony or key. . .
Durch'gangston, passing-tone, chang-
ing-tone; re* gelmassiger D.ton, one
falling on a weak beat ; wtregelmas-
siger Durchgangston, one falling on a
strong beat, also called a schwe'rtr^
Durchgang, "heavy passing - tone,"
though properly an anticipation or free
suspension.
Durch'gehend (Ger.) i. Passing, as
Durch'gehender Akkerd', passing-
chord. 2. Transitional, as durchge-
hende Au/weichungen, the transitional
or continuous modulations necessary in
passing to a key harmonically remote.
3. Complete; as durch' gehettfe
Stim'men, complete (organ-) stops.
Durable omponieren (Ger.} In song-
writing, to set each strophe to differ-
ent music, thus following the changing'
mood more closely than in the ballad or
folk-song, where melody and harmony
are generally the same for each verse.
. .Durchkompoftitrt, " through-corn-
posed," progressively composed.
Dttrch'schlagende Zung'e (Ger.) Free
reed.
Durch'stecnen (Ger.) Running (of
wind in an organ). Also said of a pip
which, when facing another, causes thb
latter to speak' by the wind issuing from
its mouth. Dunk'stickcr, tones pro-
duced by the above defects.
Duree (Fr.) Duration, Jime-value (of a
note).
Durez'za (It.) Sternness, harshness.
Dur MoH'-Tonart (Ger., " major-minor
mode".) The "combined" mode de-
rived theoretically from the resolution
' df the dominant chord in minor to the
tonic in major (mode with major third
and minor sixth); 'expressed by the
Hauptmann formula
Du'rOj-a (It.) Stern, harsh. f
Du'rusra.-uxn (Lat., "hard* 1 .) Equl.
6 4
POSTER EIN.
valent to major in the phrases cant us
{turns, hexachor'dttiti durum; i.e.^ a
chant (vocal music) and hexachord with
major third ; opp. to Mottis.B durum,
B natural,
Dii'ster (Ger.) Gloomy, mournful.
Dutch concert. See Concert.
Dux (Lat., *' leader, guide".) Subject
or theme of a fugue.
Dynamics, The theory of mus. dyna-
mics is the scientific explanation of the
varying and contrasting degrees of in-
tensity or loudness in mus. tones.
E.
E. (Ger. Ej Fr. and It. mi.) The 3d
tone or degree in the typical diatonic
scale of C-major. (Compare Alphabet-
ical Notation, and So Imitation.)
E (It) And ; (before a vowel, ed\
Ear. I. (Ger. Ohr, Gehor*; Fr. ordttej
It orec'chio!) A mus. ear is one im-
pressionable to mus. tones, thus afford-
ing to its possessor, after more or less
practice, the capability of accurately
reproducing them, and of appreciating
and correctly analyzing compositions
performed by others. 2. One of the
2 projecting plates of metal on either
side of the mouth of an organ-pipe.
Ebollimen'to, Ebollizio'ne (It) Ebul-
lition; a sudden and passionate ex-
pression of feeling.
itcart (Fr,) A wide stretch on the pfte.'
Ec1>ole (Gk.) The raising or sharping
of a tone ; opp. to EC* lysis.
Ecceden'te (It,) Augmented (of inter-
vals).
Ecclesiastical modes. See Modes-
Ec/co (It) Echo.
chappement (Fr.) The hopper or es-
capement in a double-action pfte.
fechelette (Fr.) Xylophone.
chelle (Fr.) Scale.
Echo. I. A subdued repetition of a
strain or phrase, 2. An echo-stop.
3. A harpsichord-stop . . . Echo-organ ,
a separate set of pipes, either enclosed
in a box within the organ, or placed at a
distance from the latter, to produce the
effect of an echo ; it has separate stops,
and often a special manual.., Echo-
stop^ one producing an echo-like effect,
either by itself or in an echo-organ.
Eclisses (Fr,) Ribs (of a violin)..
Contre-tclisscs, linings.
Eclogue. See glogue.
Ec'lysis (Gk.) The flatting or depression
of a tone ; opp. to EC' bolt.
E'co (It.) Echo.
Ecossaise (Fr.) Originally, a Scotch
round dance in 3-2 or 3-4 time ; now, a
lively contredanse in 2-4 time. (Com-
pare Schottische.)
Ecu (Fr.) Shield (on face of lute, man-
dolin, etc.)
Ed (It) And.
E'del (Ger.) Noble ; refined, chaste.
Effekt' (Ger.) Effect. ..Effekt' piano,
the effect of the forte-piano (/.
Effet (Fr.), Effet'to (It.) Effect, im-
pression.
Effort (Fr.) In singing, a rough and
guttural attack.
Egalite* (Fr.) Evenness, smoothness.
Eglogue (Fr.) A pastoral, or idyl,
though in somewhat more animated
style than the latter,
Egua'le (It.) Equal ; even, smooth. . .
Egualmen'tet evenly, smoothly.
Eidomu^ikon. See Melograph.
Ei'gentlich (Ger.) Proper, actual, true,
real . . . Ei'geniliche Fuge, a strict fugue.
. .Ei'gentliche Kaden&\ perfect ca-
dence. . .Ei'gentlicher Drei'klang, com-
mon chord.
Ei'genton (Ger.) Natural tone (of a
wind-instr.) ; tone proper to, or pro-
duced by, a sonorous body or hollow
space.
Eighteenth. An interval of 2 octaves
and a fourth.
Eighth, i. An octave. 2. An eighth-
note, . . Eighth-note ', a note representing
one-eighth of the time-value of a whole
note ; a quaver (5 j ) . .Eighth-rest^ a
rest equal in time-value to an eighth-
note.
Ei'len (Ger.) To hasten, accelerate, go
faster. . .Ei'lend> hastening ; acceleran-
do, stringendo. . .Ei'lig, hasty, in a hur-
ried style; rapid, swift.
Ein, Eins (Ger.) One . . . Ein'Mrig, (a)
having one string to each note ; (^) for
single (or undivided) chorus (choir) . , .
Ein'fach, simple, plain . . .Ein' gang, in-
troduction, . .EingestricJien, one-lined.
. .Ein'grtifen, (a) to touch or sound'
(strings) ; (t>) in pfte. -playing, to inter-
EIS EMPTER.
lace the fingers. . .Ein'klang, unison. , .
Ein'lage, a short piece introduced (V-
gelegi] between 2 compositions or in the
midst of a long one, . .Ein'kitung, in-
troduction . . . Ein'mal, once . . . Ein f -
sailer i monochord. . .Ein'satz, entrance
(of a vocal or instrumental part) ; attack.
Ein f satzstiick, a crook (usually Bogeti).
Ein'satzzeichen, in a canon, the presa.
. .Ein'schnitt, a pause at the end of a
melodic phrase or section . . . Ein'setzen,
to enter (as a part) ; to attack ; to strike
or fall in; eiri 'setzender Hornist', a
horn-player who sets the mouthpiece
rather within than against his lips ; a
lipping sometimes necessitated by thick
lips. . .Ein'ringen, (a) to sing to sleep ;
(b) to practise singing until confidence
is attained . . . Ein'spielen, (a) to play on
a new instr. till it works smoothly ; (t>) to
practise a part or piece until confidence
is attained . . . Ein stimmen, to tune (in
concert with other instr.s). '. .Ein'stim-
mig, for one part or voice. . .Ein'iritt,
entrance ; beginning.
Els (Ger.) EJ...'mV, Ex.
Ei'senvioline (Ger.) See Nagdgelge.
Eklo'g(u)e, Ger. spelling of tiglogue.
Ela. Name of the highest
note in the Aretinian scale :
Electric Organ. See Organ. . . Electric
Piatio forte (Ger. elektropho f nisches Kla-
vier*), inv. in 1891 by Dr. Eisenmann
of Berlin. Over each unison of strings
an electro-magnet is fixed ; on closing
the circuit (by depressing a digital) each
magnet attracts its strings, and (the
magnetic action being duly controlled
and limited by a set of microphones)
causes their continuous vibration.
Tone (of the improved instr.) full, sweet,
capable of the most various dynamic
Elevation.
shading ; timbre like that of the string-
orchestra ; the ordinary hammer-action
may be employed alone, or in combina-
tion with the above. A peculiar (sus-
taining) pedal-mechanism permits a
given tone, a full chord, or any har-
mony, to sound on as long as desired,
even after lifting the fingers. Numer-
ous combined effects of tone are pos-
sible.
Elegamment (Fr.) Elegantly.
Elegan'te (It.) Elegant, graceful...
Elega.ntemen'te) elegantly, etc.
Elegie'zither (Ger.) See Zither.
El'egy. (Fr. Mgie; It. ekgi'a.) A
composition of a mournful cast, either
vocal or instrumental ; a dirge. . .-//-
giac, a pentameter, i.e. a verse com-
posed of 2 dactylic penthemims or
written in elegiac metre. . .Elegiac verse,
that in which elegiac poems or verses
are written, consisting of elegiac dis-
tiches ; an elegiac distich being one in
which the first line is a dactylic hexa-
meter, and the second a pentameter,
thus:
Element (Fr.) The entire range of
tones embraced in the mus. scale...
,Ument m^trig^ue^ a measure-note.
Eleva^io (Lat.) i. Up-beat ; unac-
cented count. 2. The rising of a mel-
ody over the ambitus of the mode. 3,
A mus. composition accpmpanying the
elevation of the Host.
Elevation. See Elevatio. . .Also, the
name of 2 obsolete graces, the elevation
and skaked elevation :
Shaked Elevation.
written :
&
played :
Iil6vation (Fr.) I. Up-beat or weak
beat (also lev/) ; opp. to Frappe*. 2.
Same as Ehvatio 2 and 3.
Eleva'to (It.) Elevated, lofty, sublime.
. .Elevazio'ne^ see Elevation, -
Embellir (Fr.) To embellish, orna-
ment.
Embellishment. See Grace.
Embouchure (Fr.) i. The mouthpiece
of a wind-instr., or the oval orifice of
a flute. 2. See Lip.
Empater les sons (Fr.) To produce a
very smooth and suave legato. . .Ex/-
cution (yoix) empdtfe, an instrumental
(vocal) style lacking in neatness and
j distinctness.
66
EMPFINDUNG ENTREE.
Empfin'dunglCer.) Feeling, emotion.. ,
Eaipjin'dungwoll, full of feeling ; feel-
ingly, with emotion.
Empha'se, (Ger. and Fr.) Emphasis,
stress.
Emporte>e (Fr.) Carried away by feel-
ing or passion,
Empresse>e (Fr.) Urgent, eager ; in
haste.
Enarmo'nico (It.) Enharmonic.
En badlnant (Fr.) See Schersando.
Enclavure du manche (Fr.) Space cut
in belly (of violin) for insertion of neck.
Encore (Fr.) "Again!" (in English
usage; the French use the word "for"
when recalling an actor or performer).
Also used for recall (noun and verb),
and for the piece or performance re-
peated.
End-man. In the " negro minstrels 1 ',
a man who sits at the end of the semi-
circle formed by the company on com-
mencing the performance. There are
2 or 4 such end-men, who provide a
good part of the fun apart from the
songs, and likewise perform on the
11 bones " and the tambourine.
Energi'a (It.), Energie(Fn) Energy. . .
Energicamen' te (It), or con energia,
with energy and decision, energetically.
Ener'gico (It.), Ener'gisch (Ger.) En-
ergetic, vigorous; indicates that the
passage so marked is to be vigorously
accented and distinctly phrased.
Enfent de chceur (Fr.) A choir-boy.
En'fasi, con (It.) With emphasis, em-
phatically. . .Enfa'tico, emphatic.
Eng (Ger.) Narrow, close.,.*
Harmonic* (Lags], close harmony.
Eng'elstimme (Ger.) Vox angelica.
Eng'fuhrung (Ger.) The stretto in a
fugue.
Eng'Hsch (Ger.) English. . .Englisch
Horn, cor anglais... Eng'lische Me-
cha'nik, English action (pfte.). . .Eng*-
Uscher Tanz, anglaise. , . Englisck Vio-
let, (a) an obsolete bow-instr. re-
sembling the viola d'amore, with 14
sympathetic strings stretched below
the fingerboard ; (b) a former tuning
of the violin (f^a-^a 1 ).
Enharmonic, (Ger. enkarmo'nisch;
' Fr. enharmoniqut ; It. tnarmo'nico.)
In Greek music, the tnh. genus was
distinguished by a tetrachord, the first
2 steps in which were (approximately)
quarter-tones, and the third step a
major third. In modern music, enhar-
monic tones are tones derived from dif-
ferent degrees, but practically identical
in pitch, as c$ and d\) on the pfte. or
organ. . .Enharmonic change, a change
effected in the harmonic relations of a
tone or chord by treating it as identical
in pitch with another i "
tone or chord of dif- [
ferent notation ; thus: v
where the enharm, change of /^ to aft
brings about a different resolution of
the diminished seventh-chord by chang-
ing its tonality:
(i) ^-minor. (2) taninor.
. . Enharmonic chords, chords (like -i
and 2 above) alike .in pitch but unlike
in notation and derivation . . . Enharm.
di'esis, see Diesis . .Enharm. interval,
one derived from an enharm. change. . .
Enharm. modulation, an enharm.
change of chords, as above, . .Enharm.
organ, pianoforte, scale, one in which
the identity of the enharmonic tones is
denied, and an attempt made to realize
practically the minute differences in
"pitch between such tones, e. g. by add-
ing an extra digital for d\) as distinct
from <$ ; etc.
Ensemble (Fr.) Concert, in the sense
of " agreement of 2 or more in a de-
sign or plan". i. The unity of a
composition ; the harmonious agree-
ment of parts which forms a well-bal-
anced whole. 2. The harmonious co-
operation -of the various factors in a
performance'; of the actors, singers,
musicians, or instruments, taken in
groups or together. . .Morceaux d' en~
stmble, concerted music.
En serrant (Fr.) Stringendo.
Entr'acte (Fr., r ' interval between acts".)
A light instrumental composition or
short ballet, intended or adapted for
performance between acts.
Entra y ta (It.) See Entrti, and Intrada.
Entr6e (Fr.) i. See Intrada; also,
specifically, the orchestral prelude to -a
ballet, following the overture. 2. En-
trance (of a part or actor). 3. A division
of a ballet corresponding to a '* stene "
in a dramatic performance ; also, the
dance-music accompanying it. 4. An
old dance resembling the Polonaise in
character, usually in 4*4 time; often
ENTRY ESPRESS10NE.
occurs as first movement in the Sere-
- nata.
Entry. An act of an opera, burletta, etc.
(Obsolete.)
Entschlos'sen (Ger.) Resolute(ly), de-
termined, in a determined manner.
Entwurf (Ger.) Sketch, plan t design.
Eo'lian. See Molian.
Ep-icede. (Lat. epicJdium; Fr. epi-
cede; It. epice'dio.) A funeral song,
dirge.
Epigo'nion (Gk.) The ancient Greek
lyre with 40 strings, named after its re-
puted inventor Epigonos.
lipinette (Fr.) Spinet.
Epini'cion (Gk.) i. A triumphal song
in celebration of a victory. 2. In the
Greek Church, the triumphal hymn, the
Sanctus.
Epio'dion (Gk.) A funeral song.
Episode. (Ger. Zwisch'ensatz; Fr. Epi-
sode; Ittdivertimenfto.} An intermedi-
ate or incidental section ; a digression
from and interpolation between the
repetitions or developments of the prin-
cipal theme or themes of a composition ;
specifically, in the fugue, a passage of
the above character ordinarily formed of
motives taken from the subject or coun-
. s tersubject.
Epistle side (of the altar). That on the
priest's left, when he is facing the con-
gregation ; the south side ; opp, to the
gospel or north side.
Epis'trophe (Gk.) In a cyclic composi-
tion, a refrain.
Epit'asis (Gk.) The raising of the voice,
or the strings of an instr., from a lower
to a higher pitch. (See Anesis.)
Epithala'mium (Lat.), Epithala'mion
(Gk.) A nuptial song or poem.
Epito'nion (Gk.) A tuning-wrench ; a
pitch-pipe.
Ep'itrite. Same as ffippius.
. Ep'ode (Gk M "after-song".) i. A re-
frain. 2. The concluding stanza of an
ode, following the strophe and anti-
strophe.
Eptacorde (Fr.), EptacorMo (It.) I.
Heptachord.- 2. A scale of 7 notes.
3. The interval of a seventh.
Equa'bile (It.) Equable, even, uniform,
similar. . .Equabilmmte, equably, etc.
Equal counterpoint, temperament.
See the nouns. . .Equal voices, voices
of the same class, i. e. either women's
(or boys') voices (contralto and soprano),
or men's voices (tenor, bass) ; opp. to
" unequal voices," a term equivalent to
mixed chorus.
E'quisonance. In medieval music, the
^ unison (of primes or octaves).
Equisonnance (Fr.) The unison (of
octaves, double octaves, etc.)
Equi'sono (It.) In unison or octaves.
Equivocal or doubtful chord. See
Chord.
Ergrif'fen (Ger.) Affected, stirred, mov-
e&...Ergrif'fenheit, emotion, agita-
tion.
Erha'ben (Ger.) Lofty, exalted, sub-
lime. . .Erhafbenheit^ sublimity, etc.
Erhoh'ung (Ger.) Raising (the pitch of);
sharping. , .Erhdk'ungszeichen, sign of
raising, as the J, or a |J after a [7.
Ermat'tet (Ger.) Exhausted, wearied.
Ernie'drigung (Ger,) Lowering (the
pitch of) ; flatting. . . Ernie 4 'drigungs-
zeichen, sign of lowering, as the fr, or
the fl after a J.
Ernst (Ger.) Earnest, serious, grave.
(Also adverb.}
Ero'ico,-a (It.) Heroic; strong and
dignified.
Erotic, (ItM&V0.) i. Amatory. 2.
An amatory poem, a love-song.
Er'st er r e,-es (Ger.) First ...Et f ste
Stim'me^ the highest part or voice.
Erwertern (Ger.) To extend, expand.
Erwei'terte Harmonie', see Lags, write*
..Erwei'terter Satz y a movement in
which there is a full exposition of the
subject by development, repetition, etc.
. .Erwei'terung (of a fugal theme), the
widening of any of its intervals,
ErzaMer (Ger.) The Evangelist or
Narrator in a Ptoion-play.
Erz'laute (Ger.) Archlute.
Es (Ger.) ' Efr. . ./&, [>[?.
EsacorMo (It.) i. Hexachord. 2. The
interval of a sixth.
Esat'to (It.) Exact, true,
Esecuzlo'ne (It.) Execution.
Eserc^zio (It.) Exercise ; practice.
Espace (Fr.) Space (in staff).
EspiranMo (It.) Expiring, dying away.
Espressio'ne, con (It.) "With expres-
sion, expressively. ..Espressi'vo, ex-
pressive.
68
ESSENTIAL HARMONY-EXTEMPORIZE.
Essential harmony. See Harmony..
Ess. notes, chord-notes. ..Ess. 'jth, (CL
the leading-note; (b) the dominan
chord of the 7th:
Estensio'ne (It.) Compass . . . Esteso,-
(pi. estesi^e), extended.
Estinguen'do (It.) Extinguishing, dy
ing away.
Estin'to (It) Barely audible ; the ex
treme of pianissimo.
Estravagan'za (It) Extravaganza,
litalon (Fr.) Scale 3.
Istendue (Fr.) Compass.
toffe"(e) (Fr.) Having " body". . . Vmx
Jtojf/e, a full, sonorous voice.
touff,-e (Fr.) Stifled, damped, muf
fled. . .touffoir, damper (pfte.)
EttacorMo (It) See Eptacordo.
Iitude ^Fr.) A ^ study; especially, one
affording practice in some particular
technical difficulty. . .tude de concert,
an etude designed for public perform-
ance ; a species of characteristic piece.
EtVas (Ger.) Rather, somewhat.
Enharmonic, Producing harmonies
perfectly pure; opp. to tempered...
Euharmonic organ, one having a suf-
ficient number of keys to produce all
the fundamental and the chief deriva-
tive tones.
EUOUAE.
Eupho'ne. i. (Also Euphon) See
Euphonium. -2. In the organ, a 16-
foot free-reed stop, with a soft sweet
tone like that of the clarinet.
Eupho'nia (It) Euphony.
Eupho'niad. A kind of orchestrion.
Eupho'nium. r. An instr. inv. by
Chladni in 1790, consisting of gradu-
ated glass tubes set in vibration with
the moistened fingers, and connected
with steel rods. (Also Euphon.)z.
The bass Saxhorn,
Euter'pe. One of the nine Muses, the
inventress of the double flute, and pa-
troness of flute-players and of primitive
and simple melody.
Evacua'tio (Lat.) In mensurable nota-
tion, writing only the outlines of solid
notes, thus reducing their value by one-
half.
Evakuant' (Ger.) The exhaust-valve 1
or exhaust-pallet in the organ ; (Engl.
also evacuant). ' \
Evening-song, Even-song. In the
Anglican Church, a form of worship
appointed to be said or sung at eve-
ning,; known as Vespers in the R. C.
Church.
Ever'sio, Evolu'tio (Lat.) The inver-
sion of the parts in double counter*
point.
Evira'to (It) See Castrate.
Evolution (Fr.) See Render sement.
EVOVAE. The vowels of Seculortttn
0m*n, the last two words in the Gloria
Patri. In Gregorian music, the trope
closing the Lesser Doxology; in a wider
sense, any trope.
Exercise. (Ger. G'bung, tt'bungsstuek;
Fr. exerdce; It. eserci'zio.) A short
technical study, often consisting of but
one repeated measure, for training the
fingers (or vocal organs) to overcome
some special difficulty ; also, a short
study in composition, consisting of an
outline (e. g. a figured bass, or a cantus
firmus} to be filled out harmonically or
contrapuntally by the student.
Exhaust-pallet or -valve. A valve
opened by a draw-stop, to let off the
wind in the bellows after playing ; an
evacuant.
Exposition, i. (Ger. er'ste Durch'fuh-
rung.) See Fugue. 2. (Ger., [-tion'].)
Development.
Expression (Fr.) i. Expression. 2.
The vibrato effect on bow-instr.s.
Expression. (Ger. Awfdruck; Fr. ex.
fression; It. sfressio'ne.) The clear
and effective presentation of the emo-
tional and intellectual content of a
work ; its proper reading and interpre-
tation, rendering and execution. . .Ex-
pression-mark, a written direction
(either a sign, word, or phrase) for the
performance of a piece. . .Expression-
stop, in the harmonium, a stop which
closes the escape-valve of the bellows,
so that the wind-pressure, and conse-
quently the intensity of the tone, is
partly under the control of the pedals.
Expressive organ. (Ger. Expressii/-
orgel; Fr. orgue exprcssif.) The har-
monium.
xtem'pore. Without previous prepar-
ation ; on the spur of the moment ; off-
hand.
xtem'porize. (Ger. extemporie'ren.)
To improvise. . . Extemporizing-ma*
Mne t an apparatus for mechanically
EXTENDED COMPASS-FAGOTTO.
recording improvisations on the pfte.
or organ by means of a mechanism
placed in communication with the key-
board. See Melograph.
Extended compass, harmony) inter-
val. See the nouns.
Extension (Fr.) i. On the pfte., a
stretch ; on the violin, the extension of
the little finger or forefinger of the left
hand. 2. Same as tendue.
Extension-pedal. See Pedal
i. ' 2.
Extraneous chromatic signs. Those
not proper to the key. . .Extraneous
modulation, one to a remote key.
Extravagan'za. A composition of an
extravagant, whimsical, or fantastic
character; a burlesque.
Extreme, i. Of intervals, augmented.
The chord of the extreme sixth has a
major third and sharp sixth, and oc-
curs on the 6th degree in minor in 3
principal forms :
3-
Bjg
T
i
A A ~
or with progression to major (-fib).
The first form is called the Italian
sixth; the second, the French^ sixth;
and the third, the German sixth. 2
(pi.) In part-music, the outer parts.
3. Extreme kty, a" remote key.
F.
F. (Gen F; Fr. and It. fa.) The fourth
tone and degree in the typical diatonic
scale of C-major. (Gorap. Alphabeti-
cal notation, Solmisation.) f-=. forte;
ff or fff (seldom ffff) , fortissimo.
Fa, I. The fourth of the Aretinian
syllables. 2. Name of the tone F in-
Italy, France, etc. . .Fa feint (Fr.), fa
ficftum (Lat.), former term for any
flatted note... /fa mi>m solmisation,
the descending step of a semitone;
originally that from Fto E, thereafter
from j#b to -<4 ^b to A etc -
Fabliau (Fr.) A versified tale or ro-
mance of the trouveres, in vogue chief-
ly during the 1 2th and I3th centuries.
..Fablier (Provenjal), a Trouvere.
Fa'burden. (Fr. faux bourdon; It.
fal f so lordo'ne^) I. In medieval music,
the primitive harmonization of a <:./.
by adding the third and the sixth above,
and progressing in parallel motion
throughout, only the first and last
chords having key-note, fifth, and oc-
tave. 2. Later, the setting of a simple
(note against note) counterpoint to the
c. /., strict parallel motion being given
up to some extent ; dissonances were
avoided, various embellishments added,
and the whole counterpoint frequently
improvised. 3. A drone-bass, a bur*
den. 4. The intonation of the Psalms,
Face (Fr.) The position of a chord, either
as a fundamental chord or inversion ;
e. g. a triad has 3 faces.
-fach (Ger., u -fold ".) When compounded
with a numeral, equivalent to ranks, i.e.
in a mixture-stop ; zwei'fack=wth 2
ranks, drei'fach^vntii 3 ranks, etc.
Fach'erformiges Pedal' (Ger.) A
"fan-shaped" or radiating pedal-key-
board.
Faci y le (Fr.), FVcile (It.) Facile, easy,
fluent... Fadlement (It. facilmen'te\
easily, fluently. . Fadlittfyt.fanlita'\
ease, easiness, facility, fluency ; facili*
il(e} also signifies made easy, as an easy
arrangement of a difficult piece or
passage.
Fack'eltanz (Ger., "torch-dance".) A
torch-light procession arranged at some
German courts at the marriage of a
member of the reigning family; the
music is a polonaise in march-time, for
military band, and in minuet-form.
Facture (Fr.; Gtx.Faktur'; It/atiS-i
ra.) I. The plan, build, structure,
construction of a composition. 2. (Fr.
and It.) Scale (of organ-pipes),
-fa/dig (Ger.) Equivalent to threads (of
violin-strings), as ^fadig, having 4
threads.
Fading. An Irish dance; also, the
burden of a song.
Fagott' (Ger.) Bassoon... Fagotfzug
(or simply Fagott) , a reed-stop in the
organ.
Fagot'to (It.) Bassoon. . .Fagotti' no > a
FAH FAUSSE.
"small bassoon " pitched a fifth highe
than the ordinary one (Ger* Quint
fagott, Tenor' fagott)*.* Fagotti' sta, a
, bassoonist, bassoon-player. . . Fagotto' ne
double-bassoon.
Fak For fa, in Tonic Sol-fa.
Faible (Fr.) - Weak. . . JVw/r faibh
. weak beat
Faktur' (Ger.) See Facture.
Fa-la. See Ballet 3. . .Also, in Italy, a
kind of arietta ending with a burden of
fa-la.
Fall i. Same as Fly. -2. A cadence
, or close. 3. A lowering of the voice.*
Fall (Ger.) See Ton' fall
Falling .rhythm. A descending rhythm.
Fal'sa (Lat. and It; Gtt.falscL) False,
wrong. . .Mufsica, falsa, see Pitta. . .
Quiiftd falsa (Ger. faFschc Quin'te),
diminished fifth.
False. (Ger. falsch ; Fr, faux, fausse;
It. falso,-a.) Wrong; not true to
pitch, out of tune. ..False cadence \
chord, fifth, harmony > see the nouns.. .
False relation, also inharmonic rel.,
cross-rel., an harmonic discrepancy
arising from the chromatic contradiction
of a tone in one part by another part.
In equal counterpoint it is apt to occur
at a modulation, and consists in sound-
ing, either simultaneously or success-
' ively, a tone and its chromatically al-
tered octave. The former .case is
generally confined to passing-notes in
figuration, and then has no ill effect ;
the latter case- occurs when a chromatic-
ally changed tone, which might have
been reached in one part by the step of
a chromatic semitone, enters in another
octave in another part ; the effect is
harshest in passing from a major chord
toaparal- J i , \
1*1 , /) -tf J J
lei mmor|^zrz,,'> s & | J_Jg_j
chord, or 1(0) L >' I M**==\
vice versa: v 1 ' | P
Falsetto (It ; Ger. Fahttt; Fr. mix
' defavsset,fausset) The highest of the 3
vocal registers (chest-voice, head-voice,
falsetto), so named from its forced or
unnatural character ; often reckoned to
the head-register. . . Falset'tist, a falset-
to singer.
Fal'so,-a (It.) False... Fabo oordone,
(of) see Faburden; (6) the reciting-note.
Fancy, A short piece of an impromptu
character ; a fantasy.
Fandango. (Spaa.) A lively Spanish
dance in triple time, for 2 dancers of
different sex, who accompany it with
castanets, or sometimes '(in the case
of the man) with a tambourine. The
dance alternates with vocal couplets,
both dance and song having a guitar-
accomp.; the following is the castanet-
rhythm : J* J|33J I J353J J*
Fanfa'ra (It), Fanfare (Fr.) i. A
brass-band. 2. , A fanfare,
Fan'fare. A flourish of trumpets or
trumpet-call, either in the orchestra,
on a hunt, or at warlike gatherings.
Fantasi'a (It.; Ger. Fantasie', Phan-
tasie'; Fr. fantaisie.) I. An impro-
visation or impromptu. 2. In the i yth
and 1 8th centuries, an instrumental
composition in free imitation, as con-
trasting with one in strict imitation.
3. Later, a composition free 'in form
and more or less fantastic in character.
4. A term loosely applied to pot-
pourris and paraphrases. ..Free fa n-
tasia, that part of the first movement of
a symphony or sonata which follows the
double-bar (repeat of first part) and
precedes the reintroduction of the prin-
cipal theme ; it consists chiefly of a free
development of motives taken from the
first part,
Fantasie'rea (Ger.) StePhantasieren.
. .Fantasie' stuck, see Phantasiestuck.
Fanta'stico (It), Fantastique (Fr.),
Fantas^isch (Ger.) Fantastic, giving
free rein to the fancy.
? an'tasy. See Fantasia.
Farando'la, Farando'le. A circle,
dance of southern France and the ad-
joining Italian provinces, in 6-8 time
and very rapid tempo.
7 arce. i. (It far'sa.) A one-act opera
or operetta of ultra-comical or burlesque
character. 2. (Itfarsia.) A canticle
in the vernacular intermingled witli
Latin, formerly sung at the principal
festivals of rte R. C. Church, and later
finding ludicrous imitation in the farsa
or farce.
Fa'scia(It) i. A tie. 2 (pL,fasde).
Ribs.
Fastosamen'te (It.) Pompously, in
a stately style... Fas to' so, pompous,
'atigue-call. A signal to soldiers, call-
ing them to, fatigue-duty.
^attuVa (It.) See Factor*.
Fausse (Fr. f masc. faux.) False... J?
FAUSSET-FIFTH.
quinte, dhnin. fifth* . . F. relation, false
relation.
Fausset (Fr.) See Falsetto.
Faux (Fr.) False. . .Faux-bourdon^ see
Faburden.
F-clef. (Ger. . F-schlUml / Fr. clef de
fa; It. chime di basso.) See Clef.
Fe'derklavier (Ger.) Spinet.
Feeder. In the organ, see Organ^ (i)
Wind-supply.
Fei'erlich (Ger.) Festive; solemn,
grave, serious. (Also adverb)
Fei'len (Gen) To file, polish, refine,
put the finishing touches to.
Fein (Ger.) Fine, delicate, refined.
Feint,-e (Fr.) See Ficta.
Feld'flote,-pfeife (Ger.) i. SttBawrn-
j^# t _2. A fife. 3. See Schweizer-
fidte &
Feld'stiick (Ger.) A cavalry-call or
signal.
Female or feminine rhyme. A rhyme
ending with an unaccented syllable, as
fate'ful ungrateful.
Fermamen'te (It.) Firmly, with de-
cision.
Ferma're il tuono. See Messa di wee,
Ferraa'ta (It.), Ferma'te (Ger.) i. A
pause, stop, or interruption, as that be-
fore the cadenza of a concerto. 2. A
hold (>r\). 3. A stop (on the violin).
Ferraez'za, con (It.) In a firm, de-
cided, energetic style (deciso).
Fer'mo (It.) Firm, decided ; fixed, un-
changed (as canto fermo).
Ferine- (Ger.) Distance. . . Wie aus der
Feme, as if from a distance.
Fern'flote (Gen) A covered 8' organ-
stop of very soft tone.
Fern'werk (Ger.) Echo-organ*
Fero'ce (It.) Wild, fierce, vehement.. .
Ferodta') wildness. vehemence. . . Con
ferocita^ wildly, vehemently.
Fer'tig (Ger.) Ready; done, finished ;
prompt, skilful, dexterous... Fer'tigkeit,
readiness, skill, dexterity; technical
finish.
Ferven'te (tt.) Fervent, ardent, pas-
sionate.
Fes (Ger.) ty . . .Fes'es, fy\>.
Fest(Ger.) i. A festival.,. Musitffest,
mus. festival* 2. Firm, steady. (Also
Festivamen'te (It) In a gay, festive
manner . . Festivita r y festivity, mirth :
conf., in a gay and festive style. . ,/Vj-
ti'vo (Ger./w/'AVA), festive,- festal (also
festo'so).
Feu'er (Ger.) Fire, ardor, passion...
Feu'erig, fiery ; with fire, ardently, pas-
sionately.
F-holes. (Ger. F' -tocher; Fr. les JF.)
The 2 /-shaped soundholes cut in the
belly of the violin, etc.
Fiasco (It.) Languishing.
Fia'sco(It) Failure,
Fia'to (It.) Breath, breeze, wind...
Strumen'to daf^ wind-instr.
Fic'tarum (Lat., ** feigned ".) Fa //-
turn-) see Fa. . .Mu f sicafata^ see J^fu-
sica, in APPENDIX*
Fiddle. (Ger. Fi'del, Fiifcl) See Vio-
tin* ..Fiddle-bow \ fiddlestick^ see Bow.
Fi'des (Lat.) I. The string of a mus.
instr. 2. A lute, lyre, cithara,
Fi'dicen (Lat; Itm.fidieina^ A player
on a stringed instr. ' :
Fidic'ula (Lat.) Dimin. of Fides.
Fidu'cia (It.) Confidence, boldness.
Fie'del (Ger.) Fiddle... Stroh'fadel,
xylophone.
Fier, Fiere (Fr.) Proud, haughty.
Fie'ro,-a (It.) Wild, fierce ; bold, vig-
orous. <, Fier amen' te, wildly, boldly. . .
Fieretfza, fierceness, boldness, vigor.
Fife. (Ger. Quer'ffeife; Fr. Jtfrtj It.
tiffi") I- An octave 8w
cross-flute with 6 holes anq JL
without keys (thus differ- i
ing from the Piccolo) ; 1
compass about >
used chiefly as a march-accomp. with
the drum. 2. An organ-stop of 2-foot
pitch; a piccolo-stop.
Fifteenth, i. (Ger. Quint' dezime; JY.
quinzilme y It quindicSsirrw^ ,A
double octave. 2. An organ-stop .of 2-
foot pitch.
Fifth. (Ger. Quin'tt;"$r. qwnte;\\..
quin'ta) An interval of 5 diatonic de^
grees (see Interval) ; also, the 5th de-
gree in the diatonic scale, the dominant.
. .The typical or standard interval ,of
this name is the perfect (or major) fifth,
equal to the interval between 'the key-
note and the fifth tone of
the diatonic scale ; e. g.
(^), the vibrational ratio being :
. .IHminisked (imperfect, defective >
FIFTHY FINGER-CYMBALS.
minor, or false) fifth, an interval nar-
rower by a semitone than a perfect fifth.
..Augmented (pluperfect, superfluous,
or extreme) fifth, one wider by a chro-
matic semitone than a perfect. fifth. . .
Cometutive(vt parallel) fifths, see Con-
secutive. . . Covered (concealed or hidden)
fifths, see 0rto<r. . . Circle of fifths,
see Temperament.
Fifthy. Having the second harmonic
(fifth above the octave of the generator)
specially prominent.
Figur / (Gen) See Figure 2.
Figu'ra mu'ta (Lat. and It.) A rest.
Figu'ra obli'qua (Lat.) The "oblique
figure" of Plain chant and mensurable
music wlis a simple ligature formed by
uniting 2 notes ; (a) in Plain chant, it
was written in 2 ways :
I. 2.
sung
;
(b) in mensurable notation thus :
ends of the figure marked the seats of
the 2 notes. In the midst of a ligature
it possessed no special significance ; but
at the termination it denoted the imper-
fection of the final note.
Fig'ural. See Figurate...Figural'ge-
ttgr(Ger.), cantus figuralis. ..FiguraP-
musik, unequal or figurate counterpoint.
Figurate. (Ger. figurier?; Fr. figure 1 ;
It figura'to) Having, or consisting
of, figurations, (Also Figurative)
Figuration, i. In counterpoint, the
introduction of comparatively rapid fig-
tires or phrases, containing passing and
changing-notes, into the counterpoint,
2. The variation of a theme by accom-
panying it with florid runs and pas-
sages, or by substituting for its own
melody-notes more or less florid varia-
tions. 3. The writing-out of a figured
bass,
Figure, i. {Ger. Figures Jr. figure;
It figura.) A distinct group of notes,
a motive. 2, (Ger. Zi/er; Fr. chifre;
It. d'fra.) A numeral, as used in
thorough-bass.
Figured, i, (Ger. bedffert; Fr. Mf-
frt\e); It. dfra'to.) Provided with fig-
ures, as a bass (see Thorough-bass).
2. Figurate.
Fil (Fr.) Thread (of a violin-string).
Filar' il tuo'ao, la voce (It.) In the
Italian method of singing, to produce
an even, sustained tone, without cre-
scendo or diminuendo. (Also aj/fHar*
iltuono; Fr. filer un son, la voix.)
Fil'pen (Ger,) See Fistulieren.
Fi'lum (Lat.) Stem (of a note).
Fin (Fr.) End, close.
Final. In Gregorian music, that tone
(in any mode) on .which the melody
must end (equiv. to key-note or tonic);
in the authentic modes it was the low-
est tone ; in the plagal modes, the 4th
tone from below. Irregular final tones
were called confinals. . .Final close,
closing cadence.
Fina'le (It.) i. A final 2. The con-
cluding movement of a sonata, sym-
phony^ etc., or the closing number of
an act in an opera. An operatic finale
is generally an ensemble for soloists
and chorus, and intended to have a
highly dramatic or otherwise striking
effect.
Fina'lis (Lat.) See Accentus.
Fi'ne (It.) End, close ; indicates either
the end of a repeated section (after the
da capo or dal segno), or the end of a
piece in several divisions.
Fing'er (Ger.) Finger, . .Fing^erbildner,
(" finger-developer"), see Dactylion.
An apparatus of this name was also in-
vented by Seeber, and consists of a
separate attachment for each finger,
whereby the bad habit of bending the
last joint inwards is corrected. . .Ping'-
erfertigkeit, " finger-dexterity", agility
and readiness of the fingers. . .Finder-
letter, see CMroplast. . .Ping* ersatz,
Fing'ersetzung, fingering; eng'er P.,
close fingering ; gedehnter P., spread
fingering, stretches. . . Pinker wechsel,
change of fingers.
Fingerboard, i. (Ger. Griff'brett; Fr.
touche, manche: It. tastier a.) In the
violin, guitar, etc., the thin, narrow
strip of wood glued upon the neck,
above which the strings are stretched,
and on which they are stopped with the
fingers of the left hand. 2. See Key-
board.
Finger-cymbals. Very small cymbals,
held in pairs on the thumb and fore-
finger of both \axite.., Finger-hole
(Ger. Ton'loch), in the flute, clarinet,
etc., a hole in the tube, to be closed by
FINGERING-FLAUTANDO.
73
a finger or by a lever operated by a
finger, thus changing the pitch.
Fingering. (Ger. Fingersatz, Appli-
katur*; Fr. doigter; It. ditteggiatu'ra^
i. The method of applying the fingers
to the keys, holes, strings, etc., of mus.
instr.s. 2. The marks guiding the
performer in placing his fingers. . . Eng-
lish (or American .?) fingering (for the
pfte,), that in which notes taken by the
thumb are marked x (or +) with I 2
3 4 for the fingers ; German (or conti-
nental) fingering, that in which the
thumb is marked r, and the fingers 2 3
4 5. (An earlier German system re-
sembled the English, merely using a o
instead of the x for tie thumb.)
Finite il tuono. See Mcssa di voce.
'Fini'to(It.) Finished.
Fi'no (It.) Till, up to, as far as.
Fin'to,-a (It.) Feigned. . . Caden'za fin-
ta, deceptive cadence., .Fa fin to, see
Fa feint.
Fiochet'to (It.) Somewhat hoarse;
faint, veiled.., Fiochesfza, hoarseness.
. .Fio'co,-a, hoarse, faint, veiled.
Fioreggia're (It.) To figurate.
Fioret'to (It.) Any melodic embellish-
ment.
Fiori'tp (It,) Florid, embellished...
Fiorittfra, an embellishment, an orna-
mental turn, flourish, or phrase intro-
duced into a melody (commonly used
in pL, fioriture).
First, i. Of voices or instr.s of the
same class, the highest; e. g. first so*
prano, first violin,-2. In the staff, the
lowest ; as first line, first space. 3,
The first string of an instr. is the high-
est. 4. As the name of an interval,
the prime or unison.
Fis(Ger,) Eft... #'/*>, Fx.
Fis'telstimme (Ger.) Falsetto. (Also
FisteL)
Fis'tula (Lat.) Pipe.
Fistulie'ren (Ger.) i. To sing falsetto.
2. Of an organ-pipe, to overblow in
such wise as to sound (unintentionally)
some harmonic tone instead of the
fundamental.
Fixed Dp. The fixed-Do system of
solraisation is that in which the tone C,
and all its chromatic derivatives (CJ,
expand C\>, fy\>) are called Do, D
and its derivatives Re, etc. , in whatever
key or harmony they may appear ; the
syllables are then termed fixed syllable*.
. .Fixed-tone instr., (or instr. of fixed
intonation), one (like the pfte, or or-
gan) the pitch of whose tones cannot
be modified at the player's pleasure
like, for example, the tones of the
violin,
Flag, r, A hook (Nt,). -2. Abbr. for
flageolet (-tones).
Flageolet, i. (Ger. Flageoletf ; Fr.
flageolet; It. flagiolet'ta) A modern-
ized^^ a bee, a small wind-instr. of
the whistle family. There are 2 species
still in use, the English and the French ;
the latter is the more complicated, hav-
ing 4 holes above and 2 below, various
auxiliary keys, fl ^ It is not
and a compass ^ j^. used in the
of 2 octavespAn 1/1 orchestra...
and 3 semi-lfrl) * DauAIjf
to: tJ
flageoletj$\
instr. inv. by Bainbridge about 1800
consisting of 2 flageolets of different
size placed side by side and having a
common mouthpiece; simple duets
could be played on it, but it is no longer
in use. . . Flageolet-tones , see Harmonic
2. 2. A small flute-stop in the organ,
of i or 2-foot pitch.
Flageolet^ (Ger.) i. Flageolet 2.
General term for the hamonics"(^z?w-
leftone) produced on the violin, etc.
Flaschinet' (Ger.) Obs. spelling of
Flageoktt.
Flat, (Ger. Be; Fr. b/mol; It. Jw/7 A )
The character (?, which lowers < the pitch
of a note before which it is set by a semi-
tone, and, when set in the signature,
has a like effect on notes occurring on
-its line or space (and every octave of
such line or space) unless cancelled.
Some earlier composers used the [7 in-
stead of a R whenever a note was to be
lowered by ,a semitone. The double
fiat fy lowers a note by 2 chromatic
semitones ; for it the great flat 7 was
sometimes written. . . Flat fifth, a dimin-
ished fifth.,. Flat tuning, a method of
tuning the lute (also called French flat
tuning, by reason of the comparative
lowness of the earlier French pitch).
Flatter la corde (Fr. ) * l To caress the
string," i. e. to play (on bow-instr,s)
with graceful and tender expression.
Flautan^o, FUuta'to (It.) In violin
music, to play over the fingerboard
near middle of string and thus pro-
74
FLAUTO-FOLK-SONG.
duce a somewhat flute-like tone. . . Also
occasional lot flageolet.
Fla'uto (It.) Flute.../ 1 /, a becco, fluti
a bee.../ 1 /, pic? cob, see Piccolo... Fl
trover* so, cross or transverse flute. . .
? also frequently occurs as a name
for organ-stops, e. g. flauto ama'bik
flauto dol'ce, ete...Flauti'no, a smal
flute.. .Flauti'sta, a flute-player, flutist
. .Flanto'ne, a large or bass flute.
Fle'bile (It.) Tearful ; plaintive, mourn-
ful.
Flessi'bile (It) Flexible.
Flick/oper (Ger.) See Pasticcio.
Fling, A spirited Scotch dance, resem-
bling the Reel, and in quadruple time.
FMocher (Ger.) /-holes.
Florid. Embellished with figures, runs,
passages, etc.
Flo'te (Ger,) Flute. . .Flo'tenlass, bass
flute. * * Flo tenstimme, a fltite-stop (or-
gan).. .Flo'tenwerki a small organ hav-
ing only flue-pipes (opp. to Schnarr-
Zungmwerk> Rohriverk, and
Fffich'tig (Ger.) Lightly, nimbly, airily ;
fugitively, hastily, superficially. (Also
Flue-pipe. (Ger. LaMafpfrife-j Fr.
tuyau k louche ; It. tan'na cTa'mma.)
StePipe; also Stop 2.
Flu'gel (Ger,, "wing".) i. Formerly,
a wing-shaped clavier (clavichord);
now, 'a grand $te...Fl'gelkarfe, see
Spitzharfe...Flu'gelh0rn, bugle, key-
bugle.~2. BtQjBart.
Flute. (Ger. Plo'te; Fr. flute ; It.
fla'vio^ i,/ The orchestral flute (also
called German flute, cross-flute, and D-
flute, from its origin, the position in
which it is held, and its former low-
est tone respectively), in its present
form as improved by'Boehm, has a
wooden tube of cylindrical bore, pro-
vided with 14 ventages closed by keys,
and caused to sound by a current of air
projected from the player's mouth
against the feather-edge of an oval
orifice near, the upper end of the
tube ; the air-column Within the tube
Is set in *vibration in the same way
'that within a
ein theor-
from
(rare __
trames^and^)': - >-,
the first octave is obtained by moderate
Sva
rom Si=
ex-ESE
ftVftT
wind-pressure, the second an3 third by
augmenting and forcing it, thus causing
the tone to change (by overblowing) to
the higher octave. It is a non-trans-
posing instr., and its musiq is therefore
written at the pitch at which it is to be
played. Together with the octave-flute
or piccolo it forms an incomplete family,
made in 6 sizes :
(inC (inC
Flute { in Z>j? Piccolo < in Db
[ in b \ in \?
the typical member of which is -the C-
fiute. Its powerful and mellow tone
(more reedy than that of the old flute) v
and extraordinary flexibility and agility,
render it the leader of the wood-wind.
The piccolos in D\) and Jfy are chiefly
used in military music. In the I5th and
1 6th centuries complete families of flutes
were constructed, embracing bass, alto,
and treble instr.s, 2. Direct Flute ,
the flageolet and^& & bee, having a
mouthpiece at the end*
Flute (Fr.) Flute.../ 1 /, h lee, a direct
flute... FL allemande, a German flute,
../?/. & pavilion^ an 8-foot organ-stop.
. .FL d* amour, (a) a flute in j?b; (6) a
soft-toned organ-stop.../ 1 /, d Angle-
terre, flageolet. .FL douce, flautodolce.
. .FL du Poitou, bagpipe (cornemuse).
. .-FL harmonique, fl. octaviante, -see
Harmonic stop. . .FL traversiere^ trans-
verse flute.
Flute-work. In the organ, the flute-
work includes all flue-stops not belong-
ing to the principal-work and gedact-
work, as well as various modifications
of these two groups.
Fly. The hinged board or flap used as
a cover for the keyboard of the pfte.
and organ.
Fo'co (It.) See Fuoco.
Foglie^to (It.) In orchestral music, the
part for the leader ; it contains cues for,
or the obbligato passages of, the other
instr.s, and can therefore be used by the
conductor in lieu of a score.
Foire des enfants (Fr.) See Toy Sym-
phony.
ois (Fr.) Time ; premise fois, first
time ; seconde fois, second time.
*oIi'a{Span.; It.folli'a; usually in the
plural, as Fr. " folks d'spagne'\} A
Spanish dance for one person, in slow
tempo and 3-4 time.
Folk-song. (Ger. Volktfacl) A song
of the people, tinged by the musical
FONDAMENTAL-FORM.
75
peculiarities of the nation, and generally
of a simple, unaffected character, and
in ballad-form. Also, a song imitative
of the above,
Fondamcntal,-e (Fr.), Fondamenta'le
(It.) Fundamental. . . Son fondamental,
generator. Basse fondamentale, see
Basse.
Fondamen'to (It.) Fundament, funda-
mental part.
Fonds d'orgue (Fr,) The foundation-
stops of the organ.
Foot. I. (Ger. Fttss ; Vr.pied; It.
pie'de.) In prosody, a group of syl-
lables, one of which is rendered special-
ly prominent by an ictus (accent) ; it
corresponds to the measure in music.
2. (Ger. Stiefel.) That part of an or-
gan-pipe below the mouth. 3. (Obs.) A
drone-bass; a refrain or burden. 4, The
unit of measure in designating the pitch
of organ-stops, and (by extension) that
of other instr. s, and of the several oc-
taves of the musical scale \ f thus an 8-
foot (8') stop is one whose longest
pipe pro- p^ : : and is about 8 feet
ducestheF^ in length, i.e. a
tone C: ^ stop whose pipes
produce tones corresponding in pitch to
the keys depressed ; a 4-foot (4') stop is
an octave-stop ; a i6-foot (to" 7 ) stop
yields tones an octave below those
indicated by the keysrfi ,
touched. The 8 -foot octave l- w
embraces the 7 tones from C &
upwards (comp. Pitch, i); 'the flute
is an 8-foot instr. (because the pitch
of its tones is the -same as that indi-
cated by the notes), while the piccolo
is a 4-foot (or octave) instr. The
derivation of the term is as follows : The
velocity of sound-waves is estimated
at 1056 feet per second ; by dividing this
velocity by the vibration-number of the
given tone, we obtain the length of
.one sound-wave of that tone; for in-
stance, the tone 6~i having 33 vibrations
per second, 1056 -* 33 = 32 feet, the
length of one sound-wave, and likewise
the length of an open flue-pipe capable
of producing the tone Ci (CCC).
Foot-key. Pedal-key (of an organ).
Foreign chords or tones are such as
do not belong to a given key.
Forla'na (It,), Forlane (Fr.)" A lively
Italian dance in 6-8 or 6-4 time.
Form. Form in music is that element,
or combination, of elements, which, by
securing a proper balance between con-
trasting parts, produces finish of effect,
or , Unity. What are called the musical
forms depend, fa varying degree, for
their 'distinctive features, (i) on rhyth-
mical and metrical grouping ; (2) on the-
matic construction ; (3) on melodic and
harmonic contrast; (4) on contrasting
tempi ; and (5) on contrasting moods.
Points I and 2 cover the ground of (I)
mechanical symmetry ; the contrasts of
melody, harmony, tempo, and mood
postulate a more highly developed sense
for (II) cesthetic symmetry.
I. (i.) The element of metrical
grouping is eminently characteristic of
ordinary dance-airs and simple songs ;
the following example exhibits its sim-
plest form ;
Period.
I Phrase
/.J | Pbrase
| section
Period.
Analysis of this Sentence (compound
period, here a period of 16 measures),
which contains a musical thought com-
plete in itself, shows it to be composed
of 2 simple 8*measure Periods^ each
period being formed by 2 JPtirvses , each
of which embraces 2 Sections format in
-turn, of 2 Measures each* " [The term
motive for measure is to be rejected as
misleading and unnecessarily confusing,
except in the qualified shape of measure-
The funcfyatiw of such ft
FORM.
musical sentence presents a striking
analogy to that of the grammatical
sentence from which its terminology is in
part borrowed : Phrase I subject and
predicate [commaV^ Phrase 2 = limiting
clause \semuolon\ y Phrase 3, further
modification \CQmmd\, Phrase 4, second
limiting clause and conclusion of sen-
tence [ptriod~\ The exact symmetrical
balance here observable, of 2+2, 4+4,
and 8 + 8, though of very common oc-
currence, is not the general rule, and
would engender wearisome monotony
(especially in extended compositions) if
regularly adhered to; the variety of
changes caused by triple time, com-
pound measures, the opposition of un-
equal phrases, the expansion or con-
traction of periods, etc., etc., is prac-
tically limitless. But in all the musical
forms in which metrical symmetry is
observed, the simple period is, in one
shape or another, the form-element or
germ-cell^ so to speak, on which their
construction is founded. *
I* (2.) A theme or melody-dimply
repeated, (formula A + A, or |: A :|),
presents no distinctive departure from
the simplest form ; repeated in alterna-
tion 'with another |:A+B:| it ex-
hibits the peculiar feature of the song
with refrain j once repeated, after any
digression (interlude, or second theme),
it produces the "so-called Song-form
(Liedform, A+B+A), or that of the
Minuet with Alternativo. With 2 dis-
tinct themes alternating as follows:
(|: A + B :| + B [A] + A + B [i n
the original key of A]), it has the
Sonata-form, or First-movement Form;
while the Rondo-form has the following
alternations : ( A + B + B [A] + A + B
[62 in same key as A ; development-
section in the middle]); or : (A + B + A
[in same key as B] + B [same key
as A] + A). It must be added, how-
ever, that the Song-form, Sonata-form,
and Rondo-form, as carried out in
practice, present frequent deviations
from the above formulas. A theme re-
peated or imitated while still progress-
ing, produces the form of the Canon ,
Catch^ or Round ; one or more themes
repeated in conjunction or alternation
with an accompanying or contrasting
counterpoint, according to a more or
less regular formula, the Fugue. The
following is a fairly exhaustive formula
for the construction of a simple 2 part
fugue:
Theme on ist di
. A . - .
:ond Development: u " ist " " sth
Stretto; Theme brought out on the 4th " (with modulation to the subdominant)
I. Exposition:
zst Episode :
II. First Development:
ad Episode :
III. Second Development :
Scretco ;
-Coda.
II, (i.) The element of harmonic con-
trast is derived in part from contrasting
themes, in part from the deliberate
choice of keys directly or remotely re-
lated to that of the leading theme ; in
part, also, from the harmonies accom-
panying or varying the theme or themes.
Dependence on the harmonic variation
of repetitions of a single theme, to-
gether wjth the light and shade of vary-
ing tempi, is an important principle of
the Theme with Variations.
II, (2.) In cyclic compositions (the
Cyclical Forms), contrasting tempi (S =
slow, F = fast) in the successive
movements are a prominent feature.
The old Suite originally had the for-
mula (S + F + S + F) ; later a fifth
movement, either slow or fast, was in-
serted after (seldom before) the 2nd slow
one. The Sonata and Symphony are
essentially alike in plan ; either (F +
S + F), or more commonly (F + S + F
), or (S + F + S + F) or (F + F
leg. (tonic) Answer on 5th (dominant)
6th " (in augment.) " " 3 d (in diminut.)
ad " (inverted)
ist
" 7 th (inverted)
"
+ S + F) ; or, in 5 movements, (F -f S
'+ F + S + F) ; etc. ; a slow closing
movement rarely occurs.
II. (3.) The foregoing formal schemes
are a product of the slow evolution of
centuries. First, th^ primitive dance-
song develops into lync and epic song
love-ditties, ballads, and into instru-
mental dance-tunes differently named
according to their character or origin ;
while a parallel progress is seen in the
rise of church-music from the severe
Gregorian Chant to the stupendous
contrapuntal works of the late middle
ages and the chaste style of Palestrina.
Instrumental art-music now borrows
and develops its forms from the vocal
style ; the forms of imitative music (can-
on and fugue) gradually near perfection,
finally attained by J. S. Bach ; through
the adoption by artists of the rhythmic
melody and monodic style of the hitherto
despised natural music (folk-music),
and the recognition of its harmonic
FORMARE IL TUONO-FREE CHANT.
77
basis, the two currents of art-music and
folk-music are slowly merged in one
broad stream ; the popular dance-tunes
are transformed into art-forms, and
combined in the Suite; the rondo-
form and the first-movement (sonata-)
form are evolved step*by step, and their
combination produces the Sonata and
Symphony; which latter, discarding the
scheme of 4 formal movements, and
aspiring to the uninterrupted flow and
sweep of an epico-lyrical drama without
words, becomes the Symphonic Poem.
[Compare also Passion, Oratorio, Op*
era, Overture^
Forma're il tuono. See Messa di voce.
Fort (Ger.) Off; as Plots fort (organ-
music).
Fort (Fr.) I. Forte. 2. Skilful, emi-
nent. . Temps fort, strong beat., .Four-
niturt. 3 tuyaux forte, a mixture-stop of
3 ranks.
Fortbien. A keyboard stringed instr.
inv. by Friederici in 1758, having a
softer tone and lighter touch than the
fortepiano then in vogue.
For'te (It.) I (adjective). Loud, strong
(abbr. /) ; pik forte (pf), louder ; po-
co forte (also pf), rather loud ; forte
piano (fp), accent strongly, diminish-
ing instantly to piano ; fortemtn'te,
loudly, forcibly \ forte possi f bile, as loud
as possible. 2 (noun), (a) A passage
to be executed loudly or forcibly ; (b)
in the harmonium, a slide within the
chest containing one or more sets of
reeds, opened by a stop or knee-lever to
produce a forte effect ; sometimes di-
vided, one section affecting the treble
side and the other the bass side.
Fortepia'no (It.) Same as Pianoforte.
Fortissimo (It., superl. of forte.) Very
loud, or extremely loud or forcible
(abbr.//; or ff/for the extreme) ; also
forte possi 'bile (ffff).
Fort'riicken (Ger., noun.) The ad-
vance of the hand on a keyboard or fin-
gerboard, as caused by the repetition of
a figure with the same fingering but at
a different pitch.
Fort'schreiten (Ger.) To progress...
Forfschreitung, progression ; Forf-
sehreitung einer Dissonanz', resolution.
For'za (It.) Force, vigor ; con /,, for-
cibly, etc.
Forzan'do (It, "forcing, straining".)
With force, energy ; indicates that a
note or chord is to be strongly accent-
ed ; abbr. fa... Also Forza'to, Sfor-
zan'do (sfz).
Forzar' la vo'ce (It.) To force the voice.
Foundation-stops. See Stop.
Fourchette tonique (Fr.) Tuning-fork.
Fourniture (Fr.) A mixture-stop.
Four-part. (Ger. vier 1 'stimmig ; Fr. a
quatre wix ; It. a quat'tro vo'd.) Set
for, or performed by, 4 parts in har-
mony.
Fourth. (Ger. Quar'te; Hr.quarte; It.
quanta) i . The fourth degree in the dia-
tonic scale ; the subdominant. 2. An
interval embracing 4 degrees (see In-
terval). The typical or standard fourth
is the per -feet (or major) fourth, equal
to the interval between the key-note and
the 4th tone of . its vibrational
the diatonic re? g ratio being
scale, as -f : t==== :f 1:3:4.. .
Diminished (imperfect, defective, mi-
nor, or fake) fourth, an interval nar-
rower by a chromatic semitone -than a
perfect fourth. , .Augmented (pluper-
, feet, superfluous, or extreme) fourth, one
wider by a chromatic semitone than a
perfect fourth.
Franchise (Fr.) A dance in triple time,
resembling the country-dance.
Francamen'te (It.) Freely, with free-
dom (of delivery), boldly ; frankly, in-
genuously.
Franchez'za (It.), Franchise (Fr.)
Freedom, confidence, boldness. . . Con
fr., see Francamente.
Franz'ton (Ger.) " French pitch "; it is
lower than the mAwsxy^Kammerton.
Frapp6 (Fr., t( beaten",) The down-
beat ; opp. to Leve 1 .
Fra'se (It.) Phrase ; frase larga
largamente...Fraseggia're, to phrase.
Fred'do r a (It.) ColA...Frea'damen'te,
coldly.
Fredon (Fr.) An obsolete term for a
roulade, trill, or tremolo ; also, a sign
calling for a florid extension of a single
written note. . .Fredonnement, trilling,
warbling ; humming. . .Fredonner, to
trill, warble ; to hum, sing to oneself.
Free chant. A form of recitative music
for the Psalms and Canticles, in which
a phrase, consisting of 2 chords only, is
applied to each hemistich of the words.
[STAINEKAND BARRETT.]. .Free fugue,
see Fugue. . .Free part, an independent
part added to a canon or fugue to com-
plete or enrich the .harmony, . .Free
FREGIATURA-FUGARA.
reed, see Reed., .Free style (of compo-
sition), that in which the rules of strict
counterpoint are relaxed.
Fregiatu'ra (It.) A grace, an ornament.
Frei (Ger.) Free... /><'*, a license
or liberty.
French Horn, Sixth, Violin-clef. See
the nouns.
Fret. (Ger. [equiv.] Bund; Jr.touche;
It. ta'sto.) One of the narrow ridges of
wood, metal, or ivory crossing the fin-
gerboard of the mandolin, guitar, zither,
etc.,' against which the strings are
pressed by the fingers to shorten their
vibrating length and thus raise the tone.
Fretel, Fretele (Fr.) A sylvan pipe ;
the Pan's-pipe with 7 reeds. Some-
times called sifflet des chaudronniers.
(Also fretetel, freteau, fretiau, fresteL)
Fret'ta, con (It) With haste, celerity ;
hurriedly.
Fricassee (Fr.) i. A sort of popular
dance interspersed with pantomime, in
vogue in the i8th century in the tkM-
tres des boulevards at Paris. 2. A kind
of part-song of the i6th century, each
part having different words.
Fries (Ger.) Purfling.
Fnscfa (Gen) Brisk, lively, vigorous
Froh'lich (Ger.) Glad, joyous, gay
(also adverb).
Front'pfeife (Ger.) See Prospekt.
Frosch(Ger.) Nut (of a bow).
Frot'tola (It, " comic ditty ".) A pop-
ular ballad or song intermediate between
the vUlanella and the madrigal; in
great vogue during the i6th century.
F'-Schlussel (Ger.) F-clef.
Fu'ga (Lat. and It) A fugue.. ./". ad
eetafvam [guin^am] (Lat.), fugue at
the octave [fifth].. ./. aqua'lis mo'tiis
(Lat.), fugue in similar motion, the
answer ascending and descending like
the subject. . ./. alcontrafrio [r ever' so,
rovefsdo\ (It), see /. contraria, . . F.
authen'tica (Lat), fugue with a subject
ascending above the key-note.. ./. ca-
ntfnica. \iotaflis] (Lat), a canon.../.
composite (Lat.), a fugue whose subject
progresses by conjunct degrees.../.
contra'ria (Lat.), a fugue having, the
answer in contrary motion to the sub-
ject.../, del Wiw(It.) f tonal fugue.
..F. dop'pia (It.V double fugue..,/.
bmopho'w (Lat.), fugue with answer
at the unison.../ 1 , impro'pria (Lat.),
see F, irregula'ris* . .F. inaqua'lis
(Lat.), see F. contraria. . .F. incompo'-
slta (Lat.), a fugue whose subject pro-
gresses by disjunct degrees. ../I in
conseguen za (It.), a canon. . . F. in con-
tra' rio temfpore(L&\.!), se&F.jfer ar*sin
et the' sin, . .Fuga in no' mine , a "fugue
in name," i. e. a nominal or free fugue.
. .F. inveSsa (Lat.), a fugue worked
throughout in double reversible coun-
terpoint, so that the inversions of the
parts may appear in contrary motion.
. ./. irregula'ris (Lat,), a fugue irregu-
lar in form. . .F. li'bera (Lat and It),
a fugue with free episodes. . .F. liga'ta
(Lat. and It.), a fugue without free
episodes, strictly developed from its
subject andcountersubject. . .F. mix'ta
(Lat.), a fugue varied in development
by employing different contrapuntal de-
vices (augmentation, diminution, inver-
sion, etc.). . .F. obbliga'ta (It), see F.
Hgata...F. partia'lis (Lat), a fugue
proper, in contradistinction to a canon,
. .F.per augmentatio'nem \diminutio f -
nem\ (Lat.), a fugue in which the answer
is in augmentation [diminution] either
throughout, or as a rule. . . F. per the' sin,
etar'sin (Lat.), a fugue whose subject
begins on the strong beat, and the
answer on the weak beat, thus shifting
the accents throughout.../'.^?' zW-
tatio'nem interrup'tam (Lat.), a fugue
in which the answer is interrupted by
breaks or rests. . '/. per mo'tum con~
'tra'rium (Lat), see F, contraria*..F.
^perio'dica (Lat.), see F.partialis. . .F.
perpt'tua (Lat.), a canon. . .F.plaga'Iis
(Lat.), a fugue with subject descending
below the key-note.. .F.pro'pria (Lat.),
see F. regularis. ../. rea'le (It.), a real
fugue. .!/. re<fta (Lat), see F. csquafis
motu$..,F. redi'ta or redditaQt.), a
fugue at the middle or end of which
all or some of the parts progress . in
canon.../, regula'ris (Lat), a fugue
in regular form.. ./. retrogra f da (Lat.),
a fugue having the answer in retrograde
progression ; or/, retrogra'dapermo'-
turn 'cmtra'rium, when the answer is in
retrograde progression and contrary
motion . . . /. ricerca'ta (It.), a fugue in
whose working-out the rarer and more
elaborate contrapuntal devices are
" sought out " for display; a long and
elaborate master-fugue . . . F. sdalfta
(It), or solu'ta (Lat.), see F. li'bera. . .
/! totaflis (Lat.), a canon.
Fuga x ra. (Ger. JFqafra, Voga'ra^ An
FUGATO-FULL ANTHEM.
organ -stop having metal flue-pipes gen-
erally of small scale and 8 or 4-foot
pitch; tone of a sharp, u stringy"
quality,
Fuga'to(It., "in fugue style 1 '.) A pas-
sage or movement consisting of fugal
imitations, but not worked out as a
regular fugue.
Fu'ge (Ger.) Fugue.
Fuggi're la cadenza (It.) To avoid
the cadence (by interrupting it).
Fughet'ta (It., dimin, of Fuga.) A short
fugue, usually only,* fugue-exposition,
Fugue. (Ger. Fu'ge; Fn fugue; &
fu'ga.} The most highly developed
1 form of contrapuntal imitation, based
on the principle of the equality of- the
parts, a theme proposed by one part
being taken up successively by all par-
ticipating parts, thus bringing each in
turn into special prominence. The
word fugue is presumably derived from
the Latin fuga> a flight, which aptly
characterizes the chasing and changing
of the subject through the several parts.
The elements essential to every fugue
are 00 Subject, (2) Answer, (3) Counter-
subject , (4) Stretto; to these are common-
ly added (5) Episod^ (6) Organ-pint,
itous appendage to the actual subject,
bridging over the interval sometimes
left between the true end of the latter
and the entrance of the Answer. Ths
subject is usually short and suggestive ;
after its proposition by the part taking
the lead, it is taken up by the part next
following as the answer, and at a differ-
ent interval (usually a fifth higher or a
fourth lower than the original one),
being then accompanied by a contrast-
ing counterpoint, the counter subject, in
the first part ; if there are 3 parts, the
3rd resumes the subject at the octave of
its original pitch, followed (if there are
4 parts) by the answer in the 4th, This
first enunciation of the subject by all
the parts in turn, with contrapuntal
accomp. in the rest, is called the Expo-
sition ; this is commonly succeeded by
an Episode, which is generally construct-
ed (for the preservation of unity of
effect) of motives from the subject and
countersubject, with modulation into re-
lated keys ; then comes the First De-
velopment, or Repercussion, in which
subject and answer are taken up by the
several parts in a different order, fol-
lowed by a second and variously modi-
fied episode. Further developments
and episodes follow at the composer's
pleasure, varied by the contrapuntal de-
vices enumerated above, and generally
in freer form, the subject and answer
appearing in new keys and at a differ-
ent interval. The fugue may be con-
cluded by a Stretto or Final Develop-
ment, in which the subject and answer
overlap each other in consequence of
following in closer succession ; the
stretto is frequently above an organ-
point; or the organ-point is used to
support the freer contrapuntal combina-
tions of the coda, a general finale or
winding-up ; or stretto and coda are
identical; etc., etc. The modern fugue ~
has 2 principal varieties : (i) The Real
Fugue, in which the original form of
the subject is preserved in the answer
(i. e. the latter is an exact transposition
of the former) ; and (2) the Tonal
Fugue, in which the subject is modified
in the answer in order to return to the
original key ; e. g.
Subject.
Answar (Tonal).
Not;
Further varieties are the Double Fugue
(with 2 subjects,' the exposition of the
1st being followed by that of the* 2nd,
and finally by the combination of both) ;
the Triple Fugue (with 3 subjects) ;
etc.; a fugue with 2 or more subjects is
sometimes called a Manifold Fugue.
A fugue in which the countersubject is
retained and developed together with
the subject throughout, is also called a
double fugue. The most elaborate
fugal form is the Fuga ricercata (comp.
Fuga). Fugues may be t written for
voices or instr.s, or for solo instr.s
(pfte., organ). (Compare Form I, 2.)
Fugued, Fuguing. See Fuga'to. Writ-
ten in either strict or free fugal style.
Fiih'rer (Ger.) " Leader, dux", subject
(of a fugue.), .Fiih'rung, leading.
Full anthem. See Anthem. . , Fullband,
a military band, or an orchestra, having
all the customary instr.s. , .Full cadence^
close, -see the nouns,. .Full Choir (di-
So
FtfLLPFEIFE-GALANT,
rection in organ-playing), draw all stop
of the choir-organ . . . Full chord, on
represented by all its tones ; also (in
concerted music), one in 'which all th
parts unite. . . Full Great (in organ-play
ing), draw all stops of great organ..
Full orchestra, see Full band..,Ful
organ, with all stops and couplers
drawn... Full score, see Score... Ful
stop (in lute-playing), a full chord fol-
lowed by a pause ; also, a chord in
which all available fingers are occupiec
in stopping the strings... Full Swell
(organ), draw all stops of swell-organ,
. .Full to fifteenth (in organ-playing),
draw all stops but mixtures and reeds.
Fiill'pfeife (Ger.) A dummy pipe...
. F&Hfquinte, a very sharp-toned organ-
stop of 5}-foot pitch, to be drawn only
with a strong combination of founda-
tion-stops. .. Futfstelk, a passage put
in to " fill out"; padding. ..FM'stimme,
(a) a part reinforcing a principal part at
the octave or unison ; (b) a mutation-
stop a third or a fifth above the normal
pitch ; (c) //., in polyphonic composi-
tion, accessory parts not treated melodi-
cally like the principal parts, but brought
in occasionally to complete the harmony
or mark the rhythm.
Fundamental, i. The root of a chord.
2. A generator (in this sense also
fundamental bass, note and tone)...
Fund, chord, triad, see Chord, Triad.
..Fund, position, any arrangement of
the toaes of a chord in which the root
remains the lowest
Fundamental1)ass (Ger,) Fundamen-
tal bass.. .Fundamental' ton, root ; key-
note, tonic (Grund'ton, To'nika).
Fnnfebre (Fr.), Fu'nebre, Funera'le
(It.) Funereal, mournful.
Fiinf'fech (Ger.) See -faeh...F*nf-
stimmig, 5-part ; for 5 parts or voices.
..Funf'stufigc Ton'leiter, pentatonic
scale.
Fuo'co [foo-6'-co] (It.) Fire, spirit; con
f., orfuoto'so, with fire, fiery, spirited.
Fu'ria (It.) Fury, passion; con /.,
wildly, passionately. '
Furiant, Furie. A rapid Bohemian
dance with alternating rhythms and
changing accentuation.
Furibon'do (It.) Furious, frenzied.
Furio'sOj-a (It.) Furious, passionate ;
furiosamen'te, passionately ; furiosis'-
o, with extreme passion.
Furla'na (It.) See Forlana.
Furniture-stop. A mixture-stop.
Furo're (It.) A rage, mania, passionate
fondness (for anything).. .Also, fury,
passion, vehemence ; con /., passion-
ately.
Fu'sa(Lat.), Fuse(Fr.y An eighth note,
or quaver.
Fuse (Fr.) An ornament consisting of
a rapid ascending or descending dia-
tonic series of notes ; a slide.
Fusel (Ger.) Same &s-Fusa.
Fusel'la (Lat.) 32nd-note.^. .Fuse^lala,
64th-note.
Fuss (Ger.) Foot \-fusstg, the adjective-
ending corresponding to -foot, as<P/#,r-
sig (achffussig), 8-foot. . .Fuss'klavier,
pedals (of an organ). . . Fuss' ton, equiv-
alent to "-foot pitch", e. g. an organ-
pipe of 4-foot pitch is said to be of 4-
Fusston.
Fut'terung (Ger.) Linings (of a violin),
G.
G. The fifth tone and degree in the
typical diatonic scale of C-major. . . G.
abbr. i<xgauche(m.g. = main gauche) ;
G. 0. (or simply G), grand-orgue.
Galjelklavier (Ger.) A keyboard instr.
inv. in 1882 by Fischer and Fritzsch of
Leipzig, in which steel tuning-forks are
substituted for strings. The some-
what dull timbre, due to the lack of
harmonics, has been brightened by
adding, for each key, a second fork
tuned an octave higher than the first.. .
Ga'belton, *' fork-tone," i.e. the tone a 1
pitched for tuning. . . Ga'belgriffe (pi.),
cross-fingerings. -See Stimmgabel.
GagliarMa (It.), .Gagliar/de (Ger.) A
galliard.
Gai (Fr.) Gay, lively, brisk, * . Gaiement,
wgaiment, gaily, briskly.
Gaillarde (Fr.) Agalliard.
Gajamen'te (It) Gaily, lively.. . Ga'Jo,-a,
Ga'la (It.) In the phrase di gala, gaily t
merrily.
Galamment (Fr.), Galantemen'te (It.)
Gallantly, gracefully, prettily.
Galant' (Ger.) Free; e. g. galan'te
Fu'ge, free fugue; galan'ter Stil t ga-
lan'te Schreib'art, free style, the homo-
phonous style of composition for the
clavichord or harpsichord, in vogue in
GALANT-GEFAHRTE.
81
the 1 8th century ; ppp. to gebun'dcner
Stil, strict style, in which a certain
number of contrapuntal parts was ad-
hered to throughout.
Galant,-e (Fr.), Galan'te (It.) Gallant,
graceful, pretty.
Gal'liard. (Ger. Gagliar^de; Fr. gait-
larde; It. gagliar'da.) An old French
dance for 2 dancers (also called Roma-
ne*$ca\ of a gay and spirited character,
though not rapid, and in 3-4 time ; like
the Pavan, it had 3 reprises of 4, 8, or
12 measures. It was the precursor of
the Minuet.
Gal'op. (Fr. galop, gabpade ; Gr.
Galopp') A very lively and spirited
round dance in 2-4 time ; supposed to
have been derived from the old German
Hop'ser or Rutschfer (names descrip-
tive of the step). Introduced into
France early in the igth century.
Galoub6, Galoubet (Fr.) A land of
small fife, the shrillest of all wind-in-
str.s, with 3 holes and a compass of 17
notes ; found only in Provence.
GanVba. i. See Viola da gamba. 2.
An organ-stop similar in tone to the
viola da gamba.
Gam'be (Ger.) Viola da gamba. . . Gam'*
benstimme, a gamba-stop. . . Gam'ben-
werk, piano-violin.
Gamiest. A player on the viola da
gamba.
Gam'ma. The Greek G (r). In medie-
val music from the loth century on-
ward, the lowest tone of the mus. sys-
tem then obtaining was called F ; the
letter was , together with the F-
^ n1<f < H"<an/A ite IICA
also used [^ clef. Hence, its use
as a clef r to name the entire
scale (see Gamme and Gamut). . . Gam-
ma ut, j.^. - i n the old system of
n <r am , e 1^ J solmisation.
01 u- .* "
Gamme (Fr.) A scale (see Gamma) .. .
G. diatonique (ckromatique\ diatonic
(chromatic) scale.
Gam'ut (from gamma ut). I. See Gam-
ma. 2. A scale. 3. The staff. 4. In
old English church-music, the key of G.
Gang (Ger.) Passage. (Plural G&nge.)
Ganz (Ger.) I. Whole. .. Gan'zc Note
(gan'ze Takfnote), whole note (^)...
Gan* 'instrument, a metal wind-instr.,
the lowest natural tone of whose tube
can be made to speak ; opp. to Halb' in-
strument. , . Ganz'sMuss whole ca-
dence. . . Ganz f ton, or gan'zer Ton,
whole tone. 2. Very.
Gar'bo (It.) Grace, elegance.
Gas'senhauer (Ger.) In the i6th cen-
tury, a designation for popular songs or
f oik-songs (Gasfsenhawerliri) ; the word
now signifies a trite and threadbare
tune, and at the same time something
vulgar and unworthy of art. [RIEMANN. J
Gathering-note. In chanting, an irreg-
ular fermata on the last syllable of the
recitation, to enable the body of the
singers to catch up and begin the ca-
dence together.
Gauche (Fr.) Left; maing. (abbr. m.
g), left hand.
Gaudio'so (It.) Joyous, jubilant."
Gau'menton (Ger.) A guttural tone.
Gavot'. (fv. gavotte; iLgavofta) An
old French dance-form in strongly
marked duple time ((J} alia breve), be-
ginning with an auftakt, of a lively
though dignified character, and resem-
bling the Minuet. (See Suite.) The
Gavot has latterly been revived as an
instrumental piece.
Gaz'el. A piece with a short and oft-rt-
curring theme or refrain.
G-clef. (Ger. G'-Schliissel; Fr. clef de
sol; It. chiave di soprano.) The sign
f determining the position of the
note /on the staff. (See Clef)
a'se (Ger.) Bellows (of an organ ;
usually Balg)*
Gebroch'en (Ger.) Broken.
Gebun'den (Ger.) i. Tied. 2. Legato,
tied; as gebun'dene Dissonant \ pre-
pared dissonance; gebun'denes Spiel,
legato playing ; gebun'dener Stil, strict
style. 3, Having 2 or more digitals to
one string (said of clavichords) ; opp.
to un'gebunden or bund'frei (i. e.
"fretted" or "fret-free" [GROVE]).
(Comp, Bundfrei.)
Gedackt/ (Ger.) Stopped (of organ-
pipes) ; opp. to offen. (Also gedact,
gedakt)
GedampfV (Ger.) . Damped; muffled;
muted.
Gedeckt 7 (Ger., "covered".) See Gc-
dackt.
Gedehnt' (Ger.) See Dehnen.
Gedicht 7 (Ger.) Poem.
Gefahr'te (Ger.) Answer (in fugal com-
position).
GEFALLEN-GESCHLEIFT.
Gefallen (Ger.) Pleasure ; nach G., a
' piacere.
Gefel'lig (Ger.) Pleasing, attractive,
graceful.
Gefiihl' (Ger.) Feeling, emotion... Mit
G. t with feeling, expression (also ge-
f&hlvoll\
Ge'gen (Ger.) Against, contrary to...
Gfgenbewegung, contrary motion. . .
Ge'genfuge, a fugue in which the an-
swer is an inversion of the subject. . .
Ge f genharmonie J counter-subject (in a
iugit)...Ge'gensatz, (a) contrast; (b)
contrasting movement or effect. . . Ge'-
genstimme^ contrapuntal part ; counter-
subject.
Gegit'tertes B (Ger.) B cancellatum.
Gehal'ten (Ger.) Held, sustained.
Geh'end (Ger.) Andante.
Gei'ge (Ger.) ^K>\m...Gei'genclamcym
beli Gei'genklawer y bow-piano. .. Get
genharz, rosin . . . Gei' geninstrumen
bpw-instr. . . Gei'genprindpal, violi
diapason (organ-stop). . . Gei'genwer
piano-violin.. .Geigenzettel, the maker
14 label "or "inscription" on a violin
Geist (Ger.) Spirit, soul ; mind, inte
lect ; genius ; essence.
Gei'sterharfe (Ger.) ^Eolian harp.
Geistlich (Ger.) Sacred ; opp. to welt
Uck, secular.
Gelas'sen (Ger.) Calm, composed
placid ; easy. (Also adverb^
Gelau'fig (Ger.) Fluent, voluble ; easy
familiar.. .Gelau'figkeit, fluency, celer
ity, velocity; ease, familiarity.
Gemach'Hdi(Ger,) Comfortable, easy
commodious, convenient ; slow, gentle
modetto.
Gema'ssigt (Ger.)
M&ssig.
Moderate. (See
Gemisch'te Stim'men (Ger.) i. Mixed
voices. 2. In the organ, the mixtures
or mixture-stops,
Gems'hom (Ger., " chamois-horn/') In
the organ, a metal flue-stop having ta-
pering pipes of 8, 4, or 2-foot pitch on
the manuals and of i6-foot pitch on the
pedaF, with mellow, horn-like timbre
..Gems hornquinU, a 5}f foot stop of
the above type.
Gemiit'(h) (Ger.) Soul, heart, spirit;
mind; disposition, temperament, na-
Ge'nera. Plural of Genus.
GeneraHtess (Ger.) Thorough-bass;
GeneraVbassschrift, thorough-bass no-
tation. . . General' pause, a pause for all
instr.s or parts in the midst of a com-
position, particularly when so intro-
duced as to produce a 'striking effect.
A hold ^ over the rest for such a
pause renders its duration indetermin-
ate ; i. e. robs it of rhythmic value, as
if the beats or counts were suspended
for the time being. . . General' probe, full
rehearsal.
Generator. (Fr. [son] gMrateur.} j.
A root, or fundamental torie. 2. A
tone which produces a series of har-
monics.
Ge'nere (It.) A mode or key ; a genus.
Genero'sora (It.) Generous, free, ample.
Geniar (Ger.) Relating to or exhibiting
genius; talented, gifted, ingenious,
clever ; spirited.
G6nie (Fr.), Genie' (Ger.) Genius.
Genouilliere (Fr.) Knee-lever ; formerly
used in German grand pftes. as a sub-
stitute for the earlier draw-stops, before
the general introduction of pedals.
Genre (Fr.) Genus, as g. diatonique,
chromatique, enharmonique.k 1 s o ,
style.
Gentil r le (Fr.) Genttte (It.) Grace-
ful, delicate, yc&ty.Gentilment (gen-
tilmen'te), gracefully, etc. . . Gentilez'w,
con (It.), with dignity, refinement, grace.
Ge x nus (Lat) I. In ancient music, a
system of arranging the notes of a tetra-
chord ; for diatonic, chrom., enharm.
genus, see Greek Music, 2,~2. A
mode or octave-scale.
Gera'de Bewe'gung (Ger.) Similar
or parallel motion. .. Gera'de Takfart
(gerader Takt\ duple or quadruple time.
German flute, the cross-flute. . . German
sixth, see Extreme.
Ges(Ger.)
-
Gesang / (Ger.) Singing, song ; a song,
vocd composition ; melody, air...<?-
sang'buch, a song-book, hymn-book. . .
Gesangs kunst, the art of singing, vocal
art. . . Gesang'(s)massig, melodious ;
adapted for singing, for the voice. . .
Gesang'vtrein> singing society, choral
society.
eschlecht' (Ger.) Genus ; mode.
eschleift'(Ger.) Slurred; legato.
GESCHMACK-GOATHORN.
Geschmack' (Gen) Taste., . Geschmack'-
voll, tasteful(ly).
Geschwaazt' (Ger,, "tailed".) Having
a hook or hooks ( h t).
Geschwind' (Ger.) Swift, rapid, quick.
(Also adverb.)
Ges'es (Ger.) See Ges.
Gesicht' (Ger.) Front (of organ). . . Ge-
sichts'pftifen, front pipes.
Gespon'nen (Ger. "spun".) Gesponnene
Saite, "covered "string. , . Gesponnener
Ton, "son file" (see Filar), an even,
sustained tone (voice or violin).
Gestei'gert (Ger.) Intensified; rinforzato.
Gestrich'en (Ger.) i. Having hooks.
2. In compound words, equivalent to
-lined) -accented, as eiri 'gestrichene Ok-
ta've, one-lined (once-accented) octave.
3. Crossed , p-0 or jf #- 4. Cut
with a stroke or[_ (m ~(as a scene in
line across, as \j an opera).
Get(h)eilt' (Ger.) Divided, separated.. .
Geteil'te Violi'nen^ violini divisi. . . Ge-
tetfte Stim'men, partial stops (organ).
Getra'gen(Ger.) Sostenuto. See Tragen.
Geworfener Strich (Ger.) " Thrown
stroke " ; in violin-technics, a form of
the saltato*
Ghaz'al, Ghaz'el (Arabic.) See Gaul
Ghiribiz'zo (It.) Whim, 'fancy, caprice.
. . Ghiribizzo'so, whimsical, etc. *
Gi'ga (It.) See Gfgw.
Gigeli'ra (It.) Xylophone.
Gigue (Fr.j r. Early name for the old
form of viol, which nearlyresembled that
of a ham (gigue) ; hence German Geige.
2. Ordinary title in the Suite for the Jig,
Gioche'vole (It.) Playfully, merrily.
Giocon'do,-a (It,) Jocund, gay, playful.
. . Giocondamen'te^ joyously, merrily.
Gioco'so,-a (It.) Playful, sportive, ban-
tering; humorous. , : Giocosawn'te, play-
fully, etc.
Gio'ja (It.) Joy, delight, pleasure...
Giojan'te> joyfully, mirthfully...6*0-
jo'so^a, joyful, mirthful. . .-Giojosamen'-
te, joyfully, etc.
Giavia'le (It.) Jovial, cheerful.
Giraffe. An old-style upright grand pf te.
Gi'ro (It.) A turn.
Gis (Ger,) Gft . . (S/fr, G x .
GmbtH'o '(It., also gMUlo. giubilaaw'-
reJQicing, jubilation.
, jubilant.
Giuocan'te (It.) Playful, bantering.
. . GiuoMvolt) playfully, etc.
Giu'sto,-a (It.) Appropriate, strict,
moderate (as tempo giusto), exact, pre-
cise, correct. ..Allegro giusto (all*
modify^ moderately fast . . Giustamen'te,
correctly, exactly. . , Givstexfsta 9 c0tt,mth
precision.
Glas'Tiarmonika (Ger.) Harmonica i.
Glee. A secular composition for 3 or
more unaccompanied solo voices, of
later origin and less contrapuntal inge-
nuity than the Madrigal, and peculiar
to England. It is of modern character,
both with regard to tonality and to its
employment of harmonic masses and
the perfect cadence. The name glee is
not properly descriptive of its nature,
as serious glees are written as we A as
merry ones.
Gleich (Ger.) Equal. .. GM'cfor Kon f -
trafunkt, equal counterpoint. . - Gld'cht
Stimmen, equal voices. . . Gidch'sckwe-
bende Temperatur', equal temperament.
Gli (It.) The (masc. pi.).
Glicibarifo'na (It.) A wind-instr. inv.
in Italy about 1827 by Catterini ; a
small 4-octav expressive organ.
Glide. The smooth connection of 2 tones
by slurring.
Glissan'do (also glissa'to, glissican'do^
glissica'to ; spurious It. forms imitated
from the Fr. glister.) I. On bowed
instr.s, (a) calls for a flowing, unac-
cented, execution of a passage ; (b)
same as Portamento. 2. On the pfte.,
a rapid scale-effect obtained by sliding
the thtmb, or thumb and one finger,
over the white keys, producing either
the simple scale, or thirds, sixths, etc,
(easier and more effective on the Jank6
keyboard).
liss^'(Fr.) r. Glissando 2. 2. A di-
rection* indicating that a passage is to
be executed smoothly and flowingly.
Glock 7 e(Ger.; dimin. Gloctfchen) Bell.
:.Glockenislf, same as Carillonneur. . k
Gfatfenspiel, (a) a carillon ; (b) an
iastr. consisting of bells or (more re-
cently) of steel bars, tuned diatonically
and struck with a small hammer ; oc-
casionally used in the orchestra ; (c) an
organ-stop which causes a set of small
bells to be sounded by the manual.
Glt/ria. See Doxology, Mass.
'Gnac'care (It.) Same as Castagnette.
Goathorn. See Gemshom.
8 4
GONDELLIED GRACE.
Gon'dellied (Ger.) Gondoliera.
Gondol^ra (It) See Barcarole.
Gong. (Tam-tam in Fr. and Ger. use.)
An instr. of percussion in the form of
a large round slightly concave plate or
basin of metal (alloy of 4 parts copper to
I part tin), with a raised rim. It is struck
with a stick having a padded leather
head, and is used in the orchestra to in-
tensify melodramatic effects.
Goose. (Fr. couac^ A harsh break in
the tone of the clarinet, oboe, or bas-
soon, caused by a defective reed or im-
proper manipulation.
Gorgheggia're (It) To execute florid
vocal music; also see Fredonner...
GorghtggiamenftO) art of singing florid
passages, ttz.*.Gorgheg'gio t a florid
passage.
Gospel side. See Epistle side.
Gout (Fr.) Taste.
Grace. (Ger. Verzie'rung; Fr. orne-
t) agrtment; It. adbellimen'to, fa-
re? to.) A vocal or instrumental orna-
ment or embellishment not essential to
the melody or harmony of a composi-
tion. (The long appoggiatura'is an ex-
ception ; it was formerly written as a
small note grace-note because care-
ful composers could thus nominally
evade the rule prohibiting the entrance
of unprepared dissonances. )... Grace-
note, a note of embellishment, usually
distinguished by its smaller comparative
size.
The graces for^ harpsichord, clavichord^
pianoforte and voice, enumerated t below in
alphabetical order, are given according to the
following authorities : J. H. d'Anglebert, 1689
owmgai v .
(d'A.) ; J. S. Bach, 1720 (B.) ; C. Pli. E. Bach,
1787 (Em. B.) ; Dr. John Blow, 1700 (Bl.) j Dr.
Ihomas Busby, 1786 (Bu.); Francois Co up erin,
1787 (Em. B.) ; Dr. John Blow, 1700 (Bl.) j Dr.'
Ihomas Busby, 1786 (Bu.); Francois Co up erin,
17*3 (C.)l ] W. Callcott, i8i7(Ca.)j Etienne
Loulitf, 1696 (L.) ; N. de S. Lambert, 1607 (La.);
F. W. Marpurg, 1762 (M,) ; PJ. Mikhmeyer,
1797 (Mi.); J. S. Petri, 1782 (P.); Fr.Pomni,
1711 (Po,
st>.
Rameau, i
Christ-
olf, 1783-89
opher Simpson, 1659(8.); G.
(W.) ; and J. G. Walther, 1732 (Wa.).
In every case, the special article in the body
of the book should also be consulted, the pri-
mary intention of this article being to give a
list of signs for ready reference.
Acciaccatura.
(Bl.)
Anschlag. Appoggiatura.
(C.) . (C.)
Double Backfall. Shaked B
+ (Bu.)
Beat.
GRACE.
(5.)
MI ir
I
Shaked Beat.
Bebung. Beisser. Brechung.
(d'A.) ^ (B.)
Cadence.
(N (B.)
Doppelt-Cadence.
(B.)
Doppelt-Cadence
and Mordant.
Cadent.
(d'A.)
Shaked Cadent.
(d'A.) (d'A.)
(d'A.)
Chute.
(d'A.) (d'A.)
Chute et Pince. Chute.
_^ (d'A.)
Doppel- Geschnellter Doppelschlag. Prs
schlag. Doppelschlag.
^ (d ; A.) ^ (d'A.)
Umgekehrter Doppelvorschlag. Double*.
Doppelschlag.
D. sur une tierce.
Shaked
Elevation.
GRACE.
(Po.)
Hement M. double, M, triple. Mordant
simple.
(M.) (M.) (M.)
AV A^r __ A
Springender Nachschlag,
Nachschlag
(modern).
Nachschlag.
Pince* double.
(W*
Pince continu.
(R.)
(R.)
H
Pince et Port de voix.
(La)
(La)
double. 6touff^
)or or
Plain-beat
Port de voix.
(Q A (C.)
Port de v. simple. Port de voix double.
PraUtiiUer.
Single Relish-
GRAC1EUX-GRAZIA.
f
fcp= jvy ^
'I II II ill
Double Relish. Schleifer. [Code.] [Slide.]
(S.) ^ ^ (Bu.)
Springer. Passing
(M.)
Suspen- Trem- Tremblem. appuye. Tremblement.
coupe. sion. blement.
fiv~(C.)
(P.)
Tremblem. continu.
(1
=?
Turn.
Doppeltriller mit Nachschlag.
g (BL) tf (BL)_
Mit Vor- und Nachschlag. Trill without
after-beat.
Gracieux, Gracieuse (Fr.) Graceful.
Gra'cile (It.) Graceful and delicate;
thin, slender (w'eegracile),
Grad (Ger.) Degree.
Gradation. An 1 ascending or descend-
ing series of diatonic chords.
Grade'vole (It.) Pleasing, agreeable. . .
Gradevolmen'te, pleasingly.
Gra'do (It.) Degree, step . . . Gr. ascen*
den'te, ascending step... Gr. descended te,
descending step. . .Digrado, by a step,
stepwise ; opp. to di wlto^ by a skip.
Gradual. (Lat. gradua'le.) I. An anti-
phon following the epistle ; so called
because sung on the step (gradus) of the
ambo or pulpit. 2. A c&ntatorium
(book of chants) containing the grad-
uals, introits, and other antiphons of
the R. C. Mass.
Graduellement (Fr.) Gradually.
Grammatical accent. See Accent,
Gran cas'sa (It.) See Cassa..*Gran
gufsto, epithet applied to an eccentric or
highly effective composition,
Grand. Technical term for Grand Piano-
forte (see Pianoforte) . . . Grand action,
an action -such as is used in grand pftes.
. . Grand barr^ see Barre.
Grand (Fr.) Large, great. . . Gr. barr^
see BarrJ. . . Gr. bourdon^ double-bour-
don. . . Gr. chesW) full-organ. . .
Trill with
appogg*.
(a) full organ ; (b] an harmonium-stop
which brings into action the full power
of the instr.../i grand or chesty for
full orchestra. .. Grand-argue^ (a) fuH
organ ; (b) great organ; (c) pipe-organ,
Grandeur (Fr.) Width (of intervals).
(It.) Grandeur, majesty, "
Grand, pompous, ma*
Grandez^a
dignity.
Grandio'so (It)
jestic.
Grandisonan'te (It.) Loud or long.
sounding, re-echoing ; sonorous.
Granulate (It, li granulated.") Non
legato.
Grap'pa(It) Brace.
Grasscyemcnt (Fr.) A guttural and
vicious pronunciation of the r and / in
singing. . . Gra$seyer r to pronounce as
above.
Gratio'so (It.) Same as Grazioso.
GraVe (Fr. and It.) r. Grave or low In
pitch. 2. Heavy, slow, ponderous in
movement (see Tempo-marks). -3.
Grave or serious in expression.
Gravement (Fr.) r Gravemen'te (It.)
Slowly, heavily, ponderously; seriously.
Gravicem'balo (It.) A harpsichord.
(Also Gramcembalo^
Gratis (Lat.) Heavy, ponderous ; see
Accentus eccL
Gratia (It.) Grace, elegance ;
GRAZIOS GREEK MUSIC.
gracefully, etc. . . Graxio'so,-a, graceful,
elegant . , . Graziosamen'te* gracefully.
Grazios' (Ger.) Graceful(ly).
Great octave. See Pitch, absolute. . .
Great organ, see Organ*
Greater. Major.
Grec (Fr.) Greek. . .A chorus a la grcc
is one introduced at an act-close, in
imitation of the ancient Greek tragedy.
Greek music. Without attempting to
explain the theoretical and mathemat-
ical subtleties of the system, a brief
statement of some leading features will
be given below.
i. The Modes, or Octave-scales.
The typical Greek scale was precisely
the reverse of our modern ascending
major scale, being conceived as a de-
scending minor scab. Harmony in the
modern sense was unknown; the aim
of Greek theory in treating of harmonic
intervals was, therefore, to establish the
melodic succession of the tones, and
the Greeks conceived the scale as con-
stituted of a series of
groups with the compass of a perfect
fourth).
The primitive Greek modes were sim-
ple octave-scales ; the three most ancient
forms were (i) the Dorian, (2) the
Phrygian, and (3) the Lydian, to each
of which were later added 2 attendant
modes, making 9 in all ;
6. Hypolydian.
i. Dorian.
4. Hypodorian or jEolian.
^
7. Hyperdorian or Mixoly dian.
t/ *
(The signs and ^ indicate the step of a whole tone and semitone respectively.)
2. Phrgian.
5. Hypophrygian or Ionian.
*-g
8. Hyperphrygian or Locrian.
9. Hyperlydian.
The prefix hypo signifies " a fifth be-
low "ifyper," a fifth above". (Compare
Mode.) The character and name of
each mode depended (a) upon the form
of the tetrachord, and (b) upon the
position of the diaztuctic tone. While
each of the 3 primitive modes is com-
posed of 2 tetrachords of like name and
form, which are disjoined (separated) by^
the diazeuctic tone (marked f J from dia-
xeuxis,* separation), each of its 2 attend-
ant modes is composed of 2 similar con-
joined tetrachords, united by one com-
mon tone, and preceded or followed by
the diazeuxis. The character of the te-
trachord depends on the position of the
semitone ; e. g. in' the Dorian tetra-
chord, found in the Dorian and attend-
ant modes, the semitone occurs between
the third and fourth tones. This Do-
rian mode is an exact inversion of the
modern major mode :
2, The Perfect System is based on \
the Dorian tetrachord ; it comprises the \
following two octaves, in which the Do-
rian mode occupies the central portion;
a g f*~* e d c *-* B
Dorian Mode,
GREEK: MUSIC. .
This system is formed by adding, at
either extreme of the Dorian scale, a
conjoined tetrachord, and completing
the 2-octave system by the addition of
A (hence called Proslambanomenos,
"the acquired tone") in the lower
octave, thus forming a complete a-
minor descending scale. The 2 central
tetrachords were therefore disjoined ;
but, for modulations to the lower quint
Full Names of all Degrees in the Perfect System.
Nete hyperboleon
Paranete hyperb.
Trite hyperboleon
Nete diezeugmenon
(highest of the disjoined)
Paranete diezeugmenon
(next-highest of the disjoined)
(which to the Greeks was the most
natural transition, just as that to the
key of the higher quint is to us), they
used the semitone above the highest
tone of the middle tetrachord, and con-
sequently distinguished a special '* con-
joined tetrachord " (tttrachordon synem-
menon) d l -c l -fy*~>a, in opposition to the
** disjoined tetrachord" (tetr. diezcug-
menon)
a 1 (highest of the high)
f 1 (next-highest of th<
I 1 (third of the high)
d 1 'd 1
Trite diezeugmenon c 1 c 1
(third of the disjoined)
Paramese
(the [tone] next the middle)
Mese
(middle tone)
Lichanos meson
Parhypate "
Hypate
Lichanos hypaton
Parhypate "
Hypate
Proslambanomenos
The theorists attributed special impor-
tance to the middle tone Jlfese, as the
tonic of the perfect system. This sys-
tem also forms the foundation of me-
dieval mus. theory ; even the compass
given above was not overstepped till the
introduction of the F (gamma). Gre-
gorian music keeps within these limits,
and the notation in Latin letters retains
this same diatonic scale even to the
chromatic alteration of Paramese to
Trite synemmenon. This perfect sys-
tem (system* teleion) was also styled the
system* metabolon, the "mutable (i. e.
modulatory) system," with reference to
the modulation to the subdominant
made possible by employing the con-
joined tetrachord ; without this tetra-
chord it was called the system* ameta-
bolon (immutable). [This diatonic divi-
sion of the tetrachord into 2 whole tones
. and a semitone (as <g ^-/^), of which
the Dorian tetrachord is the normal
type, was the distinctive feature of the
diatonic genus (gtnus= melodic arrange-
ment of the tones within the tetrachord) ;
the earlier enharmonic genus was
formed by omitting the faranete or the
lichanos (as * /<*>*) **& &* &*?
Nete synemmenon
(highest of the conjoined)
Paranete synemmenon
(next highest of the conjoined)
Trite synemmenon
(third of the conjoined)
Mese
3
si
8
or (forefinger-tone of the middle)
F (next-lowest of the middle)
- C (lowest of the middle)
d (forefinger-tone of the low)
C (next-lowest of the low)
B (lowest of the low)
A (acquired tone) [in no tetrachord]
enharmonic genus by dividing the
trite or the parhypate -into - 2 tones
(as a , e$f^e}\ while the chro-
matic genus, also omitting the dia-
tonic second degree,, was expressed
by sharping either trite or parhypate
(as a ^ffy^f^e); etc.]
3. Transposing Scales. While
the perfect system remained the standard
in theory, the progress of Grecian musical
art widened its application in practice
until all flat and sharp semitones were
employed, and its range likewise ex-
tended. The chromatic alterations were
expressed in the Greek alphabetical
notation by different letters and differ-
ent positions of 1 the same letter, which
were equivalent in effect to our ft and [7.
E. g., on substituting in the octave-scale
d 1 d the conjoined for the disjoined
tetrachord (i.e. fy for b), this octave-
scale is no longer the Phrygian, but
becomes the Hypodorian, for the dis-
tinction between the modes depends on
the position of the semitonic stepv
moreover, as the Hypodorian octave-
scale is to be considered as that extend,
ing from the Dorian mese to proslam-
banomenos t this, octave-scale rf 1 d
GREGORIAN CHANT GROUP.
with tip belongs to a transposed Doria
mode, having not A, but d, far pros
lambanomenos. Greek music was no
tied, like the Gregorian, to the diatoni
scaled a 1 without chromatics, but em
ployed transpositions of the perfec
2-octave system parallel to our 12 o
more sharp and flat keys ; finally, thes
transpositions numbered 15 in all, thos
first in vogue bearing the same name
as the first 7 octave-scales. In th
Greek method of alphabetical notation
the natural scale (without chromatics
was the Hypolydian :
fi~*d l fi~ba>g
consequently, the 2-octave system^
without chromatics is called the Hypo
lydian (being the natural scale amonj
the transposing scales, as is -majo
among the sharp and flat keys), and th
transposing scales are named according
to the mode represented by the various
chromatic alterations of the octave-seal
/ 1 -f. For instance,
/ 1 ^^ 1 </i fi fy^a g f
being a Lydian octave, the 2-octave
system (or transposing scale) d~~ d*
with one flat is called the Lydian trans-
posing scale. It follows, that the octave
/ / belongs
without # or j> to the system A -a 1
j - (Hypolydian)
with i (> to the system d d*
(Lydian)
" " '
4b " **
5b " M
(Mixolydian, or Hyperdorian)
On the other hand,^ all the sharp scales
(of later origin) show new names ; the
<x**ve >-
(Hyoophrygian)
ian)
<x**ve />#-/# belongs
mthi J to the system ef (H
tian)
Lydiaji)
The system d$d*$, with 6 sharps, is
enharmonically identical with ^ ^
with 6 flats ; both are named Hyper-
dorian ; here closes the circle of fifths.
The names of the sharp scales re-
emerge as those of church-modes (the
number of which was increased to 12
' in the i6th century) ; namely, the
Ionian (= lastian), and Hypoionian,
^Eolian, and Hyposeolian.
Gregorian chant. The forms of mus.
worship as revised and established by
Pope Gregory I, (the Great, d. 604) for
the R. C. Church, and known collect-
ively under the name of Plain Chant
There was probably no essential differ-
ence between the Gregorian and Am-
brosian styles; St. Gregory's chief
work was the careful revision of the
ritual music employed at his time, the
rejection of redundances and abuses,
and the final establishment of the ma-
terial thus sifted and arranged as the
norm for all Western Churches. He was
also presumably the arranger, if not the
originator, of the 4 Plagal modes par-
allel to the 4 Authentic modes of -St.
Ambrose. (See Mode.)
Grei'fen (Ger.) To stop (on the violin);
to take or play (on other instr.s); to
finger ; to stretch (er kann eine De'-
r zimegfdfen, he can stretch a tenth).
Griff (Ger.) Stop (on violin); touch,
stroke, stretch (welter Griff )\ finger,
ing ... Griff' brett, fingerboard . . . Griff* ~
saite^ a string stopped by the fingers ;
a melody-string.
Grob (Ger., " coarse.") Used as a suf-
fix, it means "of broad scale" (said of
organ-pipes, as Grobgedackt).
Groore. (Ger. tfanzefle.) One of the
separate divisions of the windchest of
an organ, serving to conduct the wind
to the pipes.
Groppet'to (It) See Gruppetto.
Grop'po (It) See Gruppo.
Gross (Ger.) Great, large, grand r,ma.
jor (as^n/jw Ters, major Third)...
Gro'sse Okta'w, great octave.
Grosse-caisse (Fr.) See Caisse.
jros'so (It) Large, great ; full, heavy.
jrros-tambour (Fr.) Bass drum.
Grotte'sco (It.) Grotesque, comic, .hu-
morous.
fround bass. See JBa$$.
Group, i. A short series*of, rapid notes j
specifically, such a series, ,;,sung ,to t one
GROUPE HACKBRETT.
syllable ; a division or run. 2. A sec-
tion of the orchestra, or of an orches-
tral score, embracing instr.s of one
class, e. g. the strings.
Groupe (Fr.) I. Group ; specifically, a
group of notes with their hooks slurred
together ; a turn. 2. A unison 2.
Grund (Gen) Ground, foundation, funda-
ment. . . Grund'akkord, a chord in the
fundamental position. . . Grunt? bass >
fundamental *b2&$...Grund'lage, fun-
damental position, (of a chord). . .
Grund'stimme, (a) see Grundbass; (b)
a bass part ; (c) foundation-stop (organ).
..Grund' ton, (a) root; (b) key-note.
. . Grund'tonart, ruling or principal key
in a composition.
Gruppet'to (It.) Formerly, a trill or
relist ; in modern music, a turn. Also,
a collective term applied loosely to vari-
ous "groups" of grace-notes, such as:
etc.
Grup'po (It.) Group; also, a turn.
Formerly, a grace similar to the trill.
(See Trillo.)
G'-Schliissel (Ger,) <Mef.
Guara'cha (Span.) A lively Spanish
dance, one part of which is in 3-4 or
3-8 time and the other in 2-4 time ;
usually accompanied on the guitar by
the dancer himself.
Gue. An instr. of the violin kind, hav-
ing only 2 strings .(of horsehair), and
played like a 'cello ; formerly used in
Shetland. [CENTURY DICT,]
Guerrie'ro (It.) Martial, warlike.
Gui'da (It.) i. Subject (of a fugue);
antecedent (in a canon or other imita-
tion). 2. A direct 3. See Presa. 4.
In solfeggio, a tone 6r tones through
which the voice glides^ from one inter-
1 tai-tone teethe other,
Guide* i. Gulda i and 2, 2. (Fr.)
"Guida I and 4. . . Guide-main, " hand-
guide/' chiroplast.
Guidon (Fr.) A direct
Guido'nian hand. The Guidonian Hand
was a diagram, for memorizing the spl-
misation-syllables of the 2o-tone dia-
tonic scale (r to ee\ in the shape of an
outstretched left hand with the sylla-
bles written in regular order on the suc-
cessive finger-tips and joints. The sylla-
bles were called the Aretinian or Gui-
donian syllables. (See Solmisation?)
Guirabard. (Fr. guimbarde.) A Jew's-
harp.
Guitar'. (Span. guitar*ra; Ger. Gui-
tar' re; Fr. guitar e; It. chitar'ra?) An
instr, of the lute family. The modern
( u Spanish") guitar has six strings, the
3 highest of gut, the 3 lowest of silk
covered with fine silver wire, tuned E-
A-d-g-M: m f:
fa)-r-(frH -i
(or E-3-e-g$-b-e ! ) ; but guitar-music is
written an octave higher, in the ^-clef .
The pitch of all 6 strings can be raised
a semitone by using the capotasto.
Compass ... j^pf" (with the
3 octaves \& y :{ju ^^ h a nnonics,
and a fourth: 3' an octave
more). The long fingerboard is fur-
nished with frets on which the strings
are stopped with the left hand, while the
right plucks the strings with the finger-
tips (the thumb taking the 3 lowest, the
forefinger g, the middle finger , and
the ring-finger high i), or strikes them
with the back of the fingers ; the
thumb also sweeps the strings with the
arpeggio-effect called the rasgado.
The body of the guitar has A broad
waist, no comers, and a flat face and
back. It is used as a solo instr., and
in accompanying songs.
Guitare d'amour (Fr.), Guitar-violon^
cello. See Arfeggione.
Guiterne (Fr.) Former name for the
guitar.
Gu'sto(It) Taste... Dibuong., in good,
taste, tasteful. . . Gusto' so, with taste. . .
Gran gusto ', see Gran.
Gut. Gut strings (in the singular Ger.
Darm'saite; Fr. corde a or de or en ,
boyau; It minu'gia), popularly kaown
as catgut, are ordinarily manufactured
from the entrails of sheep, those 6f
young lambs yielding the even^st'and
finest strings because they do not bare
to be split. The best are' the genuine
Roman strings.
Gut (Ger,) Good... Gutter' Takfteil,
strong beat
H.
H (Ger.) The note 3. . .In scores, H fo
an abbr. for Horn; in organ-music, for
Heel; in music for keyboard instr.s,
' tee Hand (r.h.,Lh.)
HackVett (Ger.) Dulcimer.
HALB-HARMONIC.
Halb (Ger.) Half ; also, ' ' smaller "...
HarbeApplikatur', half-shift. . .Halb f -
bass, a double-bass of smaller size than
usual. . .Hdb f cello, a small 'cello...
Haltfgedeckte Stim'me, see Stimmt 3
..Halb 'instrument, see Ganzinstru-
ment. . . Halb'kadenz, half-cadence . . .
Hali/mand, crescent... Half be NJ.
half-note. ..Half be Or'gel, an organ
lacking, even on the pedal, a stop lower
than 8-foot pitch. . . Hafbe Pau'se, half-
rest. . .Halb'prinzipal, an organ-stop oJ
4-foot pitch (disused)... Halb'schluss,
half-close... Hal'be Stim'me, a half-
stop or partial stop. , . Ha? be Takfnote,
half-note . . . Halb' ton, halfber Ton,
semitone. . .Halb f moline, three-quarter
violin (for children)... Halb'violon
[PAUL], see Halbbass, Deutscher Bass.
..HaWwerk, see Halbe Orgel
Half-cadence, -note, -rest, -shift,
-step, -stop, -tone, see the nouns.
Hallelujah. $&t Alleluia*
Hals (Ger.) i. Neck (of the violin, etc.)
2. Throat (of a singer). 3. Stem (of
a note).
Halt (Ger.) A hold (*) ; usually Fer-
ma'te.
Hammer. 1. (Ger. ffam'mer; Fr. mar-
teau; It. marteFb.) That part of the
pfte.-action which strikes the strings
and evokes the tone. 2. A mallet,
used in playing the dulcimer. . .Ham'-
merclavier, -khvier (Ger.), early name
for 'the pianoforte (opp, to Feder-
kfawer).
Hanac'ca* A Moravian dance in 3-4
time, resembling the Polonaise in the
shifting of the accent, but in more
rapid tempo. (ter.Hana'kisch.)~-Alla
A., in the style of this dance.
Hand, harmonic. See Guidonian Hand.
Hand1>assl (Gen) An obsolete bow-
instr., intermediate in size between the
viola and 'cello ; employed as a bass-
\x&\.i...Hand'bildner, Hand'leiter, a
chiroplast . . . Hand'stticke, short and
easy exercises 'or practice-pieces...
Hand'trommel, tambourine.
Hand-liarmonica. Accordion. '
Handle-piano, A mechanical pfte. on
the principle of the barrel-organ ; the
studs on the barrel catch levers con-
nected with the hammers, causing the
latter to strike the strings, a spring
forcing the hammer to recoil instantly.
The older instr.s have few or no damp-
ers; more recent ones show an im-
provement in this regard.
Hand-note. Stopped tone (on the horn),
Hand-organ. A portable barrel-organ.
Hard. (Of tones, touch, execution.)
Coarse, rough, harsh ; cold, unsympa-
thetic, lacking expression or feeling.
Hardiment (Fr.) Boldly, vigorously,
dashingly. Also, AVM hardiesse.
Harte (Ger.) Harp . . . Ho^fmlass, Al-
bertinian bass. , .Harfenetr, see Spitz-
harfe. . .Hw'feninstrumente, stringed
instr.s whose strings are plucked either
with the fingers or a plectrum. . .Har*-
fenlaute, dital harp.
Harmoni'a (Gk. and Lat) Harmony.
Harmonic. I (adjective?) (Ger. har-
mo'nisch; Fr, harmonique; It. armo'-
nico.) Pertaining to chords (either
consonant or dissonant), and' to the
theory and practice of harmony ; opp.
to melodic.. .H, curve , the curved fig-
ure described by a vibrating string. . .
H. figuration, broken chords... #.
fate, see ff. stop. . .#. hand, see Gui-
donian Hand. . .H* mark, in music for
the violin, etc., a sign () over a note,
calling for an harmonic tone. . .ff. note,
see H. tone. . .H. reed, see ff. stop. . .
ff. scale, sss Harmonic 2. . .ff. stop, an
organ-stop having pipes double the
ordinary length, and pierced midway,
so that a i6-foot pipe yields an 8-foot
tone. Various solo stops are thus con-
structed : An harmonic flute is a flute-
stop, an harmonic reed a reed-stop,
made on this principle. . .ff. tone, also
flageolet-tone, see Harmonic a ()...
ff. triad^ a major triad.
Harmonic. 2 (noun), (a) (Ger. C/ber-
ton; Fr. son harmonique; It. suono
armonico) One of the series of tones
sounding with, but higher in pitch
and less intense than, its generator
(see Acoustics). (b) (Ger. Flageolet-
ton, Harmo'nikaton; Jr. son harmoni-
que;^ It suono armonico^ A tone
obtained, on any stringed instr, which
is stopped (violin, guitar, zither, etc.),
and also on the harp, by lightly
touching with the finger-tip a nodal
point of a string; the string, when set
in vibration, can then not vibrate as a
whole, but only in independent sections,
each section corresponding in length
to the division of the string cut of by
the finger, and each producing one and
the same tone the harmonic. Thus.
HARMONICA HARMONY.
93
by lightly touching the (^-string of a
violin at its midpoint, it is divided into
2 vibrating sections, each producing the
octave of g, i. e., g l ; by touching it one-
third of the distance from nut to bridge,
it is divided into 3 vibrating sections,
each producing the fifth above the
octave of *, i. e., d* ; etc. Such har-
monics, obtained from open strings,
are called natural; when the string is
previously shortened by stopping, and
the harmonics then obtained by lightly
touching this shortened section, they are
called artificial. The following table
shows the harmonics* obtained on a
string : By lightly touching
the octave, we get the octave ;
" fifth, " " " twelfth;
14 fourth, " " " fifteenth;
14 third (maj.) " itsownisth;
*. thirpXmin.) " 4< '/ " 17th.
The harmonics are distinguished by
their soft, sweet, ethereal character,
and the "fluty" quality of their tone
(hence the epithets flautato^ flageolet).
They are called for by the sign (the
" karmonic mark") over the notes to
be touched (not stopped).
Harmonica. (Comp.Ger.ffarmo'ni&a.)
1. The instr. developed by Benjamin
Franklin from the musical glasses, and
named by him A rmon'ica. It consisted
of a graduated series of glass bells or
basins forming a diatonic scale (lowest
tone to the left), and fastened in a row
apon a spindle, which was made to re-
rolve by a treadle ; the ends of the
spindle were supported by the end-
pieces of a trough containing water to
moisten the revolving glasses, whose
edges were touched by the fingers in
playing. Melodies could be performed,
and accompanied harmonically by chords
as wide as the fingers could stretch.
2. See Mouth-harmonica.
Harmonicerio. A bow-instr. resembling
the 'cello, with 5 gut and 10 wire strings ;
inv. by Joh. Karl Bischoff of Nurem-
berg in the 2nd half of the 1 8th century.
Harmonichord. See Piano-violin.
Harmo'nici. Aristoxenos and his fol-
lowers, who deduced the rules of har-
mony from musical practice ; opp. to
Canonici (Pythagoras and his disciples),
who derived their rules from the math-
ematical determination of the intervals.
Harmon'icon. I. A mouth-harmonica.
3. An orchestrion. 3. A keyed har-
monica combined with a flue-stop or
stops ; inv. by W.C.MttUer.
Harmoni-cor (Fr.) See Harmoniphon 2*
Harmonicorde (Fr.) Harmonichord,
Harmo'nicum. An improved form of
Bandonion, inv. by Brendel and KlOs-
ser of Mittweida (Saxony) in 1893. It
is, essentially, an accordion-body fixed
in an harmonium-case ; the keyboard is
made like either that of the harmonium
of bandonion ; the wind-supply is con-
trolled by treadles.
Harmonic' (Ger.) I. Harmony ; chord.
2. Music for the wind-instr,s (brass
and wood); also Harm^nie'musik. 3.
The wind-instr.s (brafes and wood) col-
lectively. Harmoaie'eigtni harmonic ,
chordal ; (tones) proper to a harmony ;
opp, to harmonic* fremd. . .Harmonic*-
hhre> theory of harmony. . . Harmonic* -
trompete, an instr. between a horn and
trumpet, which permitted of the sue-
cessful use of muted tones ; inv. early
in the igth century [RIEMANN].
Harmonieu3C,-ieuse (Fr.) Harmonious.
Harmo'nika (Ger,) Accordion ; con-
certina ; see also Hoh f harmonika*
Mundfharmonika^ Zieh' harmonika.
Harmo'niker (Ger., pi.) Harmonici.
Harmon'iphon. i.. A keyboard wznd-
instr. inv. by Panis of Paris in 1837,
having a set of reed-pipes in imitation
of oboe-tubes ; hence the Ger. name
Klavieroboe. 2. The harmoni-cor^ inv.
by Jaulm of Paris, similar to the above,
but with clarinet-tubes; the wind is
supplied through a mouthpiece.
Harmx/nisch (Ger.) Harmonic.
Hanno'niura. Comp. Reed-organ. -In
harmonium-music, numerals enclosed
in circles are used in lieu of the stop-
names in full, and signify:
Stops on bass
side (sign below
bass staff.)
""" Cor anglais
C) Bourdon
i Clarion
Bassoon
Stops on Treble
side (sign above or
below treble staff.)
Flute
Clarinet
Piccolo
Oboe
Harmonpm'eter. An appliance for
measuring the harmonic relations of
tones (intervals). See Monochord,
Har'mony. (Ger. and Fr. HarmoniJ;
It. armoni'a) In general, a combina-
tion of tones or chords producing mu-
sic. Specifically, a chord, either con-
sonant or dissonant, though usually
HARP-HARP-WAY TUNING.
applied to the former kind, especially
to the triad. Applied to an entire com-
position, the chordal (harmonic) struc-
ture, in contradistinction to the melody
and rhythm ; hence, 2-part^ 3- fart har-
mony^ according to the number 01
parts present... Chromatic h., that in
which many chromatic tones and mod-
ulations are introduced; opp. to dia-
tonic h. . . Close h. (in 4-part writing),
that in which the 3 highest parts lie
within the compass of an octave ; opp.
to open ft... Compound h., that in which
2 or more of the tones essential to a
chord are doubled ; opp. to simple h.
.Dispersed, extended h^ see Open h..
Essential h,, (a) the fundamental triads
of a key ; (b) the harmonic skeleton of a
composition, left after pruning off all
figuration and ornaments, . .Figured h. t
that in which the simple chords are va-
ried or broken up by foreign and pass-
ing tones, anticipations, suspensions,
and other devices ; opp. to flam h...
Open h. .(in 4-part writing), that in
which the 3 highest parts spread be-
yond the compass of an octave. . .Pure
h.i music performed with pure intona-
tion (motet, string-quartet;) opp, to
tempered h... Spread L, open.h...
Strict h., composition according to
strict rules for the preparation and reso-
lution of dissonances. . . Tempered h.,
music performed with tempered intona-
tion (pfte., organ); see Temperament.
Hart). (Ger. Har'fe; Fr, harfe; It.
or fa.) A stringed instr. of ancient
origin and wide dissemination, played
by plucking the strings with the fingers
and thumbs of both hands. The mod-
ern orchestral harp (Erard's double-
action harp) has a nearly 3-cornered
wooden frame t the apex or foot of
which is formed by an upright pillar
meeting the hollow back(ft& upperside
of which bears the soundboard) in the
pedestal; the upper, divergent ends of
pillar and back are united by the curv-
ing neck. The gut strings, stretched
vertically between soundboard and
neck, and tuned by wrestpins inserted
in the latter, are 46 (or 47) in number,
and variously colored to render them
readily distinguish-
able ; the 8 lowest
strings are covered
with fine wire. Com-
pass, six and one-
lalf octaves, from
this is the fundamental diatonic scale ;
the intermediate chromatic tones are ob-
tained by the use of 7 pedals adjusted in
the pedestal, each pedal acting on all the
strings of the same letter-name in such
away that, when pressed to its first posi-
tion, the pitch of every string affected is
raised a semitone, and, when the pedal
is pressed down to its second position, a
semitone higher. Thus, by depressing
all 7 pedals once, the scale would be
raised from C\) to C; by depressing
them twice, to C$(2fy)' t by suitable
combinations, any desired key may be
obtained. The depressed pedals are
held in position by notches. As on the
Janko keyboard, the fingering of the
scale is the same for every key. Natur-
al harmonics are obtainable ; the first
harmonic (the octave of the tone of the
open string) is that almost exclusively
employed. Music for the harp is
written on 2 staves as for the pfte. In
the old single-action harp each pedal
can change the pitch of BV&
its note by only one semi-
tone ; scale, Ey ; com- ^g .
pass, 5 octaves and a' J^
sixth, from F\ to d*: %va
A Double Harp has 2 rows of strings
. tuned dissimilarly ; a Triple Harp has
3 such rows. . .Jfcolian h., see Molian.
. . Couched h., the spinet. . .Dital harp^
SsDital...Double-actionpedal-harp, see
Harp . . . Welsh h. , a kind of triple harp.
Harpeg'gio, Harpeggie'ren. See Ar-
peggio, Arpeggiate.
Harpicor'do. Same as Arficordo.
Harp-lute. See Dital harp,
Harpo-lyre (Fr,) A kind of improved
guitar, with 21 strings and, 3 necks j
inv. 1829 by Salomon of Besancon.
Harp-pedal. See Pedal.
Harpsichord. (Ger. Kiel'jlugel; Fr.
clavecin; It. arpicor'do, clavicemfbak^
A keyboard stringed instr. in which the
strings were twanged by quills or bits
of hard leather (see Pianoforte}. Vis*
a-vis harpsichord, one with a keyboard
at either end or side, for 2 performers.
Harp-way tuning. Favorite early Eng-
lish tunings (scordature) of the viola da
gamba; termed harp-way tunings be-
cause admitting of a ready execution of
arpeggios :
Sharp:
Flat:
HART-HEROIC.
other variants are found in German
works.
Hart (Ger.) Hard ; major (usually dur) ;
abrupt, unprepared (of a progression
or modulation).. .Hart vermin' derter
Drd'klang) triad with major third and
diminished fifth, as B-d$-f.
Haupt (Ger., "head".) Chief, princi-
pal.. .Haupt? accent, primary accent
. . Haupt' akkord, fundamental triad.
..Hauffgesang, leading melody
(Haupt' melodie).. .Hauptfkadenz, full
cadence. . .Haupt' manual, great-organ
manual (abbr. Man. /.) . . .Hauplfnote,
(a) principal note ; (b) chord-note ; (c)
accented note; (d) melody-note...
Haupfprinzipal, 8-foot diapason (on
manual), i6-foot (on pedal). . . Haupt' ~
-probe, see Generalprobe*..Hauplfsatz,
principal theme. . .Haupt schluss, full
cadence. . . Haupt 'septime, dominant
7th. . .Hauplfstimme, principal part. . .
Haupt 'thema, first or principal theme.
..Haupt'ton, (a) root (of a chord'; in
recent theory, the fifth of the minor
triad) ; (b) key-note ; (c) see Haupt-
note... Haupt' tonart, the principal or
ruling key in a composition. . .Haupf-
werk (abbr. H. ^.), great organ.
Hausse (Fr.) Nat '(of a bow). . .Hausser,
to rais'e (the pitch).
Haut,-e (Fr.) High, acute... Haute-
eontre, high tenor. . .Haut-dessus^ high
soprano. . .Haute-taille, high tenor.
Hautbois (Fr.) .Oboe,..^. amour,
see Oboe.
Hautboist' (Ger.) A player in a military
band.
Hautboy. Oboe.
Head. I. Point (of bow). 2. In the
violin, lute, etc., the part above the
neck, comprising peg-box and scroll.
3. In the drum, the membrane stretched
over one or both ends. -4. In a note,
the oval (formerly square or diamond-
shaped) part which determines its place
on the staff. .-.Head-tones, Head-voice,
.the vocal tones of the head-register;
opp. to chest-tones, etc.
Heel. (Ger. Stockchen [des Halses] ;
Fr</0/<w[de la manche].) In the violin,
etc., the wooden elbow or brace by
which the neck is firmly fastened to the
body.
Heer'pauke (Ger.) An old and very
large form of kettledrum.
Hef tig (Ger.) Vehement, impetuous,
passionate (also adverb}. . .Heftigkeit,
vehemence, passion.
Heim'lich (Ger,) Secret, mysterious;
furtive, .stealthy, clandestine. (Also
adverb}
Hei'ter (Ger.) Serene, cheerful, glad.
(Also adverb}
Hel'dentenor (Ger.) See Tenor i.
Hel'icon. (Ger. Helikon} i. An an-
cient instr. for illustrating the theory of
the mus. intervals, consisting of 9
strings stretched across a square reso-
nance-box. -2. A brass wind-instr. of
recent invention, used chiefly in mili-
tary music as a bass ; its tube is bent to
form a circle, and it is carried over the
shoulder. It is constructed in various
pitches (F, jfy, C, Ify), and of broad
scale, so that its lowest natural tone
speaks (2 octaves
below the notes
on the bass-staff
Helper. An octave-pipe set beside and
sounding with another of 8-foot pitch,
for the sake of brilliancy.
Hemidemisemiqua'ver. A 64th-note.
. .H.-rest, a 64th-rest.
Hemidiapen'te, In Gk. music, a dimin-
ished fifth.
Hemidi'tone. In Gk, music, a minor
third.
Hemio'la,Hemio'lia(Gk.) I. In ancient
music, quintuple rhythm (5-4, 5-8 time).
2. The interval of a fifth (2 : 3). 3- '
A triplet (3:2). 4. In mensurable no-
tation, see Notation, 3, Color.
Hem'iphrase. A half-phrase.
Hem'itone. In Greek music, the inter-
val of a half-tone (256 : 243), the mod-
era (diatonic) semitone being 16: 15.
Heptachord, In Greek music, a dia-
tonic series of 7 tones, .with one semi-
tone-step between the 3rd and 4th.
2. The interval of a major 7th. 3. A
7-stringed instn 4. The 7-tone scate
Hep'tad, Heptacterad. See -Duodcne
Herab'strich (Ger,) Down-bow.
Herauf'strich (Ger.) See Hinaufstrich.
Heroic. (Ger. hero'isck; Fr, hfroique;
It. ero'ico,-a} Grand, imposing, noble,
bold, daring (in conception, or con-
struction). . .The " Heroic Symphony"
(Sinfoni'a ero'ica) by Beethoven is the
Third, Op. 55 in Efy... Heroic verse,
(a\ in classical poetry, the hexameter ;
(rfin Engl, Ger., It poetry, the iambic
HERSTRICH-HOOK.
of 10 syllables ; (c) in Fr. poetry, th
Alexandrine.
Her'strich (Ger., " hither-stroke " ,
Down-bow (on the 'cello and double
bass).
Herun'terstrich (Ger.) Down-bow (o-
the violin, etc*)
Her'zig (Ger M "hearty," "heartily".
Same as Innig^ but perhaps implie
greater nawetf.
Hes (Ger., " Ify.") Unusual for (Ger.
Heulen (Ger.} Ciphering.
Hex'achord, r. In Greek music, (a) a
diatonic series of 6 tones ; (b) the inter
val of a major sixth. 2. See Solmi
sation.
Hexameter, The usual hexameter-line
has 6 feet, the first 4 being dactyls 01
spondees, the 5th a dactyl or. spondee
and the 6th a spondee or trochee, thus
i i | i j ""
Hidden. See Octave.
Hift'hprn (Gen) A kind of wooden
hunting-horn producing 2 or 3 tones
there were 3 varieties, the Zin'ke (high),
Halb'rftdenhorn (medium), and Rii' 'den*
horn (low pitch).
Hilfs- (Gen) Auxiliary . . Hilfilir^ ,
leger-line. . .Hilftnote, auxiliary note.
. .Hilfs'stimme, mutation-stop.--(0f-
ten Halfs-.)
Hinauf strict (Ger.) Up-bow (on the
violin, etc.)
Hin'strich(Ger., "thither-stroke 11 .) Up-
bow (on the 'cello, and double-bass).
Hin'tersatz (Ger.) In old German or-
gans, a mixture-stop placed behind the
diapason, which it reinforced.
Hip'pius. i. A metrical foot of 4 syl-
lables, 3 long and^ i short ; called ist,
2nd, 3rd or 4th hippius according as
the short syllable occupies the rst, 2nd,
3rd or 4th place, 2. Same as Molossus
His (Ger.) B# . . .^,'zV, Bx.
Histor'icus (Lat.) Narrator (oratorio).
Hobo'etGer.) See Oboe.
Hoch (Ger.) High, acute. . .Hoch'amt,
high Mass . . . ffoch'xeitsmarsch, wed-
ding-march.
Hocfet. An early form of contrapuntal
vocal composition in 2 or 3 parts, char-
acterized by the frequent and sudden
interruption, in rapid alternation, of the
vocal parts, producing a spasmodic},
"hiccupy" effect; chiefly in vogue
during the I2th and I3th centuries.
(Also spelled hoquet, hocquet^ hoquetus,
ochetus, etc.)
Hoh'e (Ger.) High pitch, acuteness;
high register (e. g. u 0V*>*<7/$<?", high-
est notes of the oboe).
Hohl'fiote (Ger. ; Fr. fldte creuse; the
smaller sizes are also called ffohlpfei-
fen.) In the organ, an open flue-stop
of broad scale, usually with eared pipes,
having a dark, mellow timbre, some-
what hollow (whence the name), gener-
ally of 8 or 4-foot pitch, seldom of 16'
or 2'. As a mutation-stop in the fifth
it is called the Hohl'quinte.
Hold. (Ger. Per -ma j 'te; Hr.$oint(Tarrtt,
couronne; It.ferma'ta, coro'na.) The
sign fa over, or <& under, a note or
rest, indicating the indefinite prolonga-
tion of its time-value, at the performer's
discretion, in accordance with the
rhythm of the composition. . . In orches-
tral scores often called (Ger.) General'-
pause, (It.)fa'usa genera'le.-(lT\ Eng-
land, usually called a Pause.) Placed
over a bar or double-bar, the hold in-
dicates a slight pause or breathing-spell
before attacking what follows ; opp. in
this sense to Attacca.
Holding-note. A note sustained in one
part while the others are in motion.
[STAINER AND BARRETT.]
Holz'blaser (Ger., sing, and pi.) Play-
er(s) on wood wind-instr.s. (Abbn
Hzbl. ) . . . Holz'llasinstrumente^ wood
wind-instr.s; technically, the "wood-
wind".
rloKzernes Gelach'ter ) (Ger. ) Xylo-
lolz^armonika J phone.
lompphone (Fr.) The enharmonic of
a given tone, as d of c x , d\) of f#, etc.
Homophonic,-ous. (Lit. , alike in sound
or pitch.) i. In earlier music, unison-
ous, in unison ; opp. to antiphonic. 2.
In modern music, a style in which one
melody or part; supported to a greater
or less extent by chords or chorda!
combinations, (i. e, an accompanied
melody) , predominates, is called homo-
phonic; opp. to polyphonic. . .Homo-
phony, homophonic music; opp. to an-
tiphony and polyphony. (See Monody.)
Hook. (Ger, Fatfne, Fahn'chen; Fr.
crochet; It. co'da uncina'ta.) A stroke
attached to the stems of eighth-notes, '
i6th-notes, etc. (J* g ). Also Flag,
Pennant,
HOQUETUS-HORNSORDIN.
97
Hoquetus. Rocket.
Ho'rae cano'nicae (Lat.) The canonical
hours.
Horn. (Ger. Horn ; Fr. cor; It. cor* no?)
One of a group of brass wind-instr.s
distinguished by the following charac-
teristics : Cupped mouthpiece of coni-
cal shape ; conical tube, narrow and
long, variously bent upon itself (the
smallest horn generally used, in high
Bb, has a tube nearly 9 feet long ; that
an octave lower in pitch, nearly 18 feet);
wide and flaring bell ; the tone is rich
and mellow, sonorous and penetrating ;
the compass lies between the 2nd and
1 6th tones of the harmonic scale. The
older natural or French Horn> yielding
only the natural tones supplemented by
"stopped tones", has a fairly com*
plete chromatic scale of 2 octaves and a
fifth, from the 3rd partial (lowered by
stopping) up to the i6th partial j n there
are 16 crooks in all, |2gp:~~ fl
giving a total possible ' ~~
compass of 3 %, octaves: bm
but only 8 or 10 are in general use in
the symphony-orchestra ; the following
tones at either end of this scale are
difficult :
VsT^
^
Actual p : tch:
Thus the highest " safe " tones on the
horns in common use would be (accord-
ing to GEVAERT):
Horn in Bb CD
L -SL jfi.
E F G Ab A Bb (C)
Notation :
Partial tonei6 16 15 14 13 13 12 10 10 10 10
The stopped tones have a peculiarly
sombre quality, and are often utilized
for special effects ; they can be pro-
duced on the valve-horn in exactly the
Bb C D Eb E
same manner as on the natural horn
(also comp. Trumpet). This modern
Valve-horn is usually constructed in
the following sizes [RIEMANN]:
F G Ab A Bb C
low
the given pitch-note being in each case
the 2nd partial tone (octave of the gen-
erator), and repre- ft): the horn be-
sented in each . ^' ing a trans-
case by the note: -&- posing in-
str.; when the 6 ? -clef is employed, the
notes are written an octave higher than
when noted in the -F-clef, consequently
Horn-band. A band of trumpeters...
Russian horn-band, a band of perform-
ers on hunting-horns, each of which
produces but one tone, the number of
players and instr.s being equal to that
of the scale-tones required by any given
piece ; e. g. 37 for the chromatic scale
of 3 octaves.
Homer (Ger.) Plural of Horn, equiv. to
cornL (Abbr. Hr.)
high
Horning 1 . A mock serenade with tin horns
and other discordant instr.s, performed
either in humorous congratulation, as of
a newly married couple, or as a mani-
festation of public disapproval, as of
some obnoxious person. (Local U. S.)
[CENTURY DICT.] A callithumpian
concert. '
Horn'musik (Ger.) See ffar monumusik*
Hornpipe, r. An obsolete English
mus. instr. 2. An old English dance
in lively tempo, the earlier ones in 3-2
time with frequent syncopations, and
the later* in 4-4 time ; very popular
during the l8th century,
Horn / quinten(Ger., "horn-fifths".) The
covered fifths produced by the natural
tones of * [
apairof|||3|
horns; 'y
Horn'sordin (Ger,) Mute for a horn.
Hosan'aaj Hosian'na (Hebr.) Lit
44 save, I pray"; an interjection used as
a prayer for deliverance or as an accla
mation. In the Mass, a part of th<
Sanctus.
Huelmetl (Aztec.) (Also hnehuitl, wvtl
tfopanhuchuttl.) Drum of the abori
gines in Mexigo and Central America
consisting of a section of a log hollowec
out, carved on the outside, from 3 to 4
feet in height, as thick as a man's body
and set upon a tripod. The upper en<
was furnished with a head of leather or
parchment which could be tightened or
relaxed, thus raising or lowering the
tone. It was struck with the fingers
and considerable skill was required to
play it. From the indistinct accounts
of the old Spanish writers it appears to
have yielded, in conjunction with the
Teponaztli, a rude harmonic bass accom-
paniment.
Huit-pieds (Fr.) Same as Halbe Orgel.
Hiilfs- (Gen) See ffilfi-'.
Hmn'mel, Hiim'melchen (Ger.) i. A
drone. 2. An obsolete organ-stop, by
drawing which 2 reed-pipes were caused
to sound continuously until it was
pushed in. 3. The Balalaika, which
has a sympathetic string. 4. The
" drones " of the hurdy-gurdy.
Humoresque. (Ger. ffumores'ke.) A
composition of humorous or fantastic
style. See Caprice.
irdy. (Ger. Dreh'leierj Barf-
trnleier; Fr. melle^ It. K r ra tede'sca.)
A stringed instr. with a body shaped like
that of a lute or guitar, and from 4 to 6
strings, only 2 of which are melody-
strings, the others being merely drones
tuned a fifth^part
(compass '~ L
about 2
_ are stopped by
z)medns of keys
controlled by
octaves: _ _ ^
the left hand ; the right hand turns
a crank at the tail-end of the instr.,
which causes a rosined wheel impinging
on all the strings to revolve, thus pro-
ducing the harsh and strident tone.
This wheel and the key-mechanism are
contained in an oblong box correspond-
ing to the neck of the lute, etc., but set
directly on the belly, only the peg-box
and head projecting beyond. The
melody-strings pass through this box
and are ^ attached to a tailpiece; the
drones lie outside. The music pro-
duced is of the rudest description;
The hurdy-gurdy was in great vogue
from the loth to the 12th century.
Hur / tig(Ger.) Quick, brisk, swift ;/rfr.
Hydrau'licon. An hydraulic organ.
Hydraulic organ. (Ger. Was' serorgel;
Gk. hydrau'los; Lat. or'ganum hydravf-
licum.) A small kind of organ, inv. by
Ktesibios of Alexandria (180 B. C.), in
which -the wind-pressure was regulated
by water.
Hymn. (Ger. and Fr. Hymne; It. in'no!)
A religious or sacred song ; usually, a
metrical poem to be sung by a congre-
gation...^ foreign usage, a national
song of lofty character, such as the
Marseillaise.
Hy'per (Gk) Over, above ; often occurs
in compounds, as hyperdictpa' $on^ the
octave above ; hyper diapen'te, the fifth
above, etc. . .In the Greek transposing
scales (see Greek music) hyper signified
a fourth higher. (Lat. equivalent super!)
Hypercatalectic. In dipodic versifica-
tion, a line having a redundant half-
foot (either thesis or arsis) is thus
termed ; 'hypercatalsxis being such state
of redundancy.
H/po (Gk.) Under, below; frequent
in compounds, as hypodiapa' son, the
octave below, hypodiapen'te, the fifth
below, hypodiifonos, the third below. . .
In the Greek transposing scales (see
Greek music} and the church-modes
(see Mode), hypo signified a fourth
below ; in the ancient Greek modes, a
fifth below. (Lat. equivalent sub.)
I.
t (It., masc. pi.) The.
lamljus. A metrical foqt of 2 syllables,
one short and one long, with the ictus
on the long (^ -*).
.as'tian. Same as Ionian..
[c'tus. Accent or stress, either rhythmi-
cal or metrical.
!dea. A musical idea is a figure, motive,
phrase or ^strain, with or without har-"
monic concomitants ; also, a fully de-
veloped theme or subject.
de*e fixe ^Fr.) Berlioz's term for an
oft-recurring and characteristic idea or
theme ; a sort of leading-motive.
Myl. (Ger. and Fr. Idyl'Ie; It. M?Bo.)
A composition of a pastoral or tenderly
romantic character.
IL INBETONT.
II (It., masc. sing.) The.
Imboccatu'ra (It.) i. Mouthpiece (of
a wind-instr.) 2. Lip 2.
Imbro'glio (It.) u Embroilment, con-
fusion" . A passage in which the rhythm
of the different parts is sharply con-
trasted and perplexing in effect.
Imitan'do (It.) Imitating.
Imitation. (Lat. imita'tio; Fr. imitation;
It. imitazio'ne; Ger. Nach'ahmung.}
The repetition of a motive, phrase or
, theme proposed by one part (the ante-
cedent) in another part (the consequent) ,
with or without modification.../, at
the fifth, octave, etc., that in which the
consequent follows the antecedent at
the'interval of a fifth, octave, etc ... L by
augmentation, that in which the time-
value of each note of the antecedent 'is
increased according to a certain ratio in
the consequent (J = J, or J= J. etc).
, .,/. by diminution, that in which the
time-value of each note in the ante-
cedent is decreased according to a cer-
'tain ratio in the consequent (J=J
etc.).../, by inversion, that in which
each ascending interval of the ante-
cedent is answered by a like descend-
ing interval in the consequent, and
descending intervals by ascending ones.
..Canonic i., strict imitation (see C0-
non)...Free i., that in which certain
modifications of the antecedent are per-
mitted in the consequent (e. g. augmen-
tation, diminution, reversed imitation,
as explained above ; or when certain
intervals are answered by others, the
time-value of certain notes altered, etc. ) ;
opposed to Strict imitation, in which
the consequent answers the antecedent
note for note and interval for interval.
..Retrograde i., that in which the
theme is repeated backwards (recte e
retro)', see Cancrizans.
Irn'mer (Ger.) Always; continuously;
immer starker werdend, continually
growing louder; immer langsamer,
slower and slower; immer langsam,
slowly throughout.
Immuta'bilis (Lat,) One of the accentus
eccl.
[mpazien'te (It.) Impatient, restless,
vehement . . . Impazientemen'te, impa-
tiently, etc.
Imperfect cadence, consonance, in-
terval, measure. Seethe nouns...
Imp. time, see Notation, 3.
Imperfection, i. See Notation, 5,
2. In a ligature, the presence of a breve
as final note, indicated by using the
Imperio'so,-a (It) Imperious, haughty,
lofty.
Im'peto (It) Impetuosity... Con *., or
impetuosamen'te, impetuously. . .Impe-
tuositbf, impetuosity,. .Jmpetuo'so, -a,
impetuous.
Implied discord. An interval which,
though not itself dissonant, is contained
within a dissonant chord ; e, g. a ma-
jor third in |<gfl: fljg " . .Implied in-
the chord: h* Urval (in tho-
rough-bass), an interval not indicated
by a figure, but understood,
e. g. the sixth and fourth^
in a chord of the second : I
Imponen'te (It,) Imposing, impressive.
Irapresa'rio (It.) The agent or mana-
ger of a traveling opera or concert-com-
pany. Occasionally, an' instructor of
singers in opera or concert.
Impromptu. I. An improvisation.
2. A composition of loose and extem-
poraneous form and slight develop-
ment ; a fantasia.
Imprope'ria (Lat, "reproaches".) In
the Roman ritual, a series of antiphons
and responses forming part of the
solemn service substituted, on the
morning of Good Friday, for the usual
daily Mass.
Impropri'etas (Lat) A term applied
to a ligature when its first note is not a
breve, ]j>ut a long ; indicated, when the
second note ascends, by a descending
tail to the right or left of the first;
when the second note descends, by the
absence of the tail. Opp. to Proprietay.
Improvisation. Extemporaneous music-
al performance.
Improyiser (Fr.) To improvise... Im*
provisateur (-trice], a male (female) im-
proviser. *
Improvisier'maschine (Ger.) A melo.
graph.
Improwisa're (It.) To improvise <..
Improvvisamen'te, extemporaneously.
. .Improvmsa'ta, an improvisation, im-
promptu. . .Improvvisato're (-tri'ce), a
male (female) improviser. . .Allimprov-
vi'sta, extempore.
Inlsetont (Ger.) With mediate accent
(See Abbetont.)
100
INCALZANDO-INTERLUDE.
Incalzan'do (It.) "Pursuing hotly."
See Stringendo.
Incarna'tus. Part of the Credo. See
Mass.
Inch of Wind. See Weight.
Inchoa'tio (Lat.) The introductory tones
or intonation of a plain-song chant.
Incomplete stop. A partial stop (or-
gan).
Incrociamen'to (It) Crossing.
Indeci'so (It) Undecided.
Independent chord, harmony, triad.
One which is consonant (i. e, contains
no dissonance), and is therefore not
obliged to change to another by pro-
gression or resolution ; opp. to Depend-
ent,
Index, Same as Direct.
Indifference (It.) Indifferent, careless.
. Jndifferenttmen'te, or con indiffe-
ren'xa, indifferently, etc.
Infernale (It.) Infernal, hellish.
Infinite canon, (It. ca'none infini'to.)
See Canone.
Inflati'lia (Lat.) Inflatile or wind-in-
struments.
Infrabass' (Ger.) Subbass,
Ingan'no (It.) Deceit . . . Caden'za d?in-
ganno, deceptive cadence.
Ingres'sa, Name of the Introit in the
Ambrosian rite'.
In / halt (Ger.) Contents ; idea, concep-
tion; subject-matter.
Inharmonic relation* See False rela-
tion* t
Inner parts. Parts lying between the
highest and lowest... Inner pedal, a
pedal-point in such part or parts.
In'nig (Ger.) Heartfelt, sincere; fer-
vent, intense ; with deep, true feeling ;
equivalent to It. a/ettuo'so, con affet*-
to; in'timo, intimis'simo>..Mit in'-
nigem Auidruck, with heartfelt ex-
pression.. .In'nigkeit, deep emotion or
feeling, fervency, intensity. . .In'nig-
lich, same as Innig.
Ifl'no(It) Hymn.
Innocen'te (It) Natural, unaffected . . .
Inn&eentemen'te, naturally, artlessly. . .
Innocen'za, naturalness, artlessness, etc.
In no'mine (Lat, u in the name".) i.
A kind of motet or antiphon, 2. See
Fuga in nomine.
t Inquie'to (It.) Unrestful, restless, .,
Insensible (It.) Imperceptible... /#
sensibilmen'te, insensibly.
Insistent (It.) Insistently, urgently,
with strong stress. (Also con insisten-
ta.)
In'standig (Ger.) Urgent, pressing.
(Also adverb.)
Instance (It.) Urgent, pressing. ../-
siantemen'te, urgently, etc.
Instrument. (Ger. and r. Instrument /
It. instrumen^ 'to, istrumen'to, stromen'-
to, strumen'to?) A list of the principal
modem instruments is given opposite,
according to Gevaert's classification ;
the asterisk (*) indicates that the instr. is
little used in the orchestra ; the brack,
ets ([ ]), that it is obsolete, or nearly so
Instrument (Fr.) /. ^ archet, bow-in,
strument. . ./. cordes, stringed instru-
ment, . ./. k fercussion^ percussive in-
strument. . ./. ^ vent, wind-instrument.
Instrumentation. (Ger. Imtrumentie'-
rung; Fr. instrumentation; It. istru-
mentazio'ne.) The theory and practice
of composing, arranging, or adapting
music for a body of instruments of dif-
ferent kinds, especially for orchestra,
(See Orchestra, Orchestration.} /-
strumentierung (Ger.) is a term also oc-
casionally applied to pfte. -music to de-
note dynamic shading and variety of
touch ; sometimes with reference to all,
at others to single, parts.
Intavola're (It.) i. To write out or
copy in tablature or score. 2. To set
to music. .Jntavolatu'ra, (a) tablature ;
(b) notation ; (c) figured bass.
Integer va'lor nota'nun (Lat.) " In-
tegral value of the notes ", i. e. their
absolute duration at an average tempo,
a question of high importance before
the invention of tempo-marks and the
metronome. Michael Prsetorius saya
(1620), that about 80 tempera (=breves,
-the tempus, or unit of measure, then
being the breve fsj ) should fill 7 %
minutes, thus :
80 [s^ 7-} minutes
lof ^ =i min.=io} M.M.; hence
O =2ii M.M.; =42f M.M.; and
M,M.)
[RlEMANN."
Intenziona'to (It) With stress, em-
phasis.
Interlude, I. An intermezzo. 2, Aa
INTERMfeDE INTERROGATIVUS.
101
CLASSIFIED LIST OF MUSICAL INSTRUMENTS.
I. Stringed Instruments.
Ji. with 4 strings j vJcYonWlo^bouble-bass
2. with more than j *Viola d'amore
4 strings j [Viols, various]
by a crank Hurdy-gurdy^ Piano-violin
t \ v" v j i. without fingerb. Harp
B.Strings,plucked \ a) by the fingers 1 2. with fingerboard *Guitar, *Mandolin, *Zither s [Lute]
1 b) by a keyboard-mechanism [Harpsichord]
C.Strings, percuss- j a) directly by the player *ZJmbalon (or Tympanon), xylophone
ed tb) by a keyboard-mechanism Pianoforte
II. Wind-instruments.
Flutes, Piccolos, Fife
as a bee] . *Flageplet
alumeau], clarinets, *alt-da-
ict (basset-horn), bass-cl.
hones, *octavin
Oboe^hautbois d'amour, alt-oboe or
cor anglais
*Sarrusophones
Bassoon, quint-bassoon, double-baa-
soon
Horn, natural
Trumpet, natural
*Post-horn
r *Bugle, military
' iones, slide-trumpet
A. With mouth- j a) lateral
hole
B. With reed
,b) whistle-like
'a) cylindrical tube -j- beating reed
b) conical tube + beating reed
c) conical tube -f double reed
C. With mouth-
piece
' a) natural
b) chromatic
i.' with slide
2. with holes (keys) -
3. with valves (pis- ,
tons)
[Cornetto, Serpent]
*Key-bugle, or key-trumpet
. *Ophicleide
'Valve-horn
Valve -trumpet
Valve-trombone, (*alto, tenor, *bass)
Cornet a pistons
Valve-bugles or saxhorns ; Tubas or
saxhorns
D.Pol yP honic
with keyboard } ^ ^itho^tubes HOTwnium, *VocaHon
III. Instruments of Percussion.
A. With a mem- J a) with tones of determinate pitch
brane [ b) with tones of indeterm. pitch
la* " " " " ' "
B. Autophonic
1 b; witn tones 01 inaecerm. piccn ju>i* ui um, atuc-ui um, ci-u. -
j a) with tones of determinate pitch Bells, canllons^GIockenspiel
j b) with tones of indeterm. pitch
Kettledrums
Bass drum, side-drum, etc^
( Tnangle, cymbals, tam-tam,
tancts, etc.
instrumental strain or passage connect-
ing the lines or stanzas of a hymn, etc.
3. An instrumental piece played
between certain portions of the church
service (Lat. inter lu'dium).
Intermfede (Fr.) i. Interlude I. 2. An
operetta in one act
Interme'dio (It, dimin. intermedia to.}
Interlude 2.
Intermezzo (It.) Intermezzi were orig-
inally short mus. entr'actes in the Italian '
tragedies, of a very simple description,
and quite independent of each other ;
towards the end of the i6th century
they assumed larger proportions ; finally
they were treated as separate parts of
a whole mus. drama, of a less serious
cast than the principal work which they
were intended to embellish, their acts
alternating with those of the latter.
Having reached this stage, they merely
had to be detached from the larger work
to form a self-existent operetta or opera
fajfo. Instrumental music sometimes
takes the place of the old intermezzi in
modern dramas (e. g. that to the 4< Mid-
summer-night's Dream," by Mendels-
sohn) . . . The term intermezzo is also
technically applied to many short move-
ments connecting the main divisions of
a symphony or other extended work;
sometimes to entire long movements,
or even to independent compositions.. .
Intermezzi in the Suite are such dances
(movements) as do not form one of its
regular constituent parts, but are occa-
sionally introduced for variety's sake,
and usually between Sarabande an4
Gigue,
Interrogati'vus. One of faeaccmtufeccl
102
INTERROTTO-INTERVAL.
Interrot'to (It) Interrupted. . .
ruzio^n^ interruption.
Interval. (Lat interval' lumj Ger. In
Urvalt^i. intervalle ; It. inttrval'lo.
The difference in pitch between 2 tones
For naming the various interval
there are 2 systems in vogue ; both ar
founded upon and derived from the
names of the intervals formed, in the
diatonic major scale, between the key
note and the successive ascending de
grees ; in both the 1st degree is called
a Prime (or First), the 2nd a Second
the 3rd a Third (or Tune), 4th *
Fourth (or Quart), 5th a Fifth (01
Quint), 6th a Sixth (or Sext), yth a
Seventh (or -S^i 1 ), and the 8th" an fotez/
(or Eighth). In the typical scale of C-
major the standard intervals are as
follows, counting upward from the key-
note, C:
(TABLE /.)
> ! S -s $
i 2 I * 4
S.
II
-JJ ^
(i) The older system, that in general
use, will be explained first ; premising,
that intervals are always considered as
measured upwards from the lower tone
to the higher, unless expressly accom-
panied with the epithet below or lower.
Table III includes the standard inter-
vals and their direct derivatives between
Table III shows (A) that each major
or perfect interval, when widened by a
semitone,^ becomes augmented; that
each major interval, narrowed by a
semitone, becomes minor; and that
each minor or perfect interval, narrowed
by a semitone, becomes diminished;
(B) that by inverting the intervals :
i a 3 4 5 6 7 8
^ , 87/54321
a _Perfect interval becomes perfect
41 ** minnv
a Major
a Minor
minor
major
diminished
augmented ;
an Augmented "
a Diminished u
{) the regular order of the standard
intervals according to their pitch (com-
pare Vibration), both m Just Intona-
tion and Equal Temperament, inter-
vals bracketted together being Enhar-
monic ; (D) the division of the Octave
in Equal Temperament.
(2) In the newer system, all the
standard intervals are called major;
any major interval widened, by a semi-
tone becomes augmented, if narrowed
by a semitone, it is minor ; and any
minor interval narrowed by a semitone
becomes diminished;
(TABLE II)
Second...'
Third..
Fourth.
Fifth...
Sixth... A Aj
Seventh
Octave.
-E -E
-G -G
-B -B;
-C -C
The latter system is simpler and more
consistent than the old, and might be
advantageously substituted for it if all
leading musicians in England and
America would agree to adopt it ; other-
wise, its occasional use can serve only
to increase the confusion unhappily pre-
vailing in English musical terminology.
In this Dictionary the older system is
adhered to throughout. An interval is :
Augmented, when wider by achroma-
tic semitone than major or perfect. . .
Chromatic, when occurring between a
key-tone and a tone foreign to the key.
..Compound, when wider than an oc-
tave ; thus a Ninth is an Octave plus a
Second, a Tenth is an Octave plus a
Third, etc. , . Consonant, when not re-
quiring resolution (comp. Consonance).
. .Diatonic, when occurring between 2
tones belonging to the same key (ex-
ceptions, the augm. 2nd and 5th of
the harmonic minor scale). ..Dimin-
ished, when a chromatic semitone nar-
rower than minor or perfect. , .Disso-
nant, when requiring resolution (comp.
Dissonance) . , . Enharmonic, when both
its tones, though having different letter-
names, are represented by one and the
same tone on an instr. of fixed intona-
tion. . .Extreme, see Augmented. . .
Flat, see Diminished* . .ffarmonic,
when both tones are sounded together. . .
Imperfect, see Diminished. . .Inverted,
when the higher tone is lowered, or the
lower tone raised, by an octave (see
Table I). . .Major; according to Table
I, the major intervals of the major
scale are the Second, Third, Sixth, and
Seventh ; ace. to Table II, all its inter-
vals are major. . ^Melodic, when the 2
tones are sounded in succession...
INTERVAL.
103
(TABLE III.)
C.
Vibrational Ratio in
" D.
Division of
B. ?"
^""55
Octave in
Inverted Inter- ^
-vals.
Standard
k Intervals.
Just In-
tonation.
Tempered
Intonation
Equal Tem-
perament.
Perfect Octave" i
(1:2) ,
i --- Perfect Prime
I: I
I : I
0.00000
Dimin. Octave" '* '
. - - Augm. Prime
128 : 135
1
(25 : 48) (
(Chromatic
Major Seventh ""'
: Second)*
, - Minor Second
15 : 16
>i : i-rtr
0.08333
(8: 15) ^ (
5 (Step of Lead-
Minor Seventh "* '
( 9 :i6) ^ j
\ ' . ing-tone)
L " " Major Secondf
I >
8:9
i:t
0.16666
Dimin. Seventh T '
(75:8)
Augm. Second
64:75
) ,
T J "
Vi : ir
O.25
Major Sixth '" (
y_ . .A
^" Minor Third
5:6
f
V * J
(3:5)
Minor Sixth - ' i 1
(5:8)
P L "Major Third
4:5
1 ,
0.33333
Augm. Fifth - - } f "(
(16:25)
j *- - Dimin. Fourth
25:32
ji.i,
Dimin. Sixth - : j '' \
(675 : 1024)
*-.- Augm. Third
5" : 675
) ^
0,41666
Perfect Fifth --"(
}*-- Perfect Fourth
3:4
)
(2:3)
_ , . -rft t, \\
L: *
18: 25
\T 5 n :' 36) ' '
] * - Augm. Fourth
Augm. Fourth -(
(18 : 25) 1
)'* Dimin. Fifth
25:36
}i:i*
0.5
Perfect Fourth - : J (
(3 = 4) }
) (k --- Perfect Fifth
2:3
i:A
0.58333
Dimin. Fourth - - - : j j
k)*
(25 : 32) *
3 " Augm. Fifth
16: 25
I
V. I J l|-
0.66666
Major Third --tf
(4:5) - *
) - Minor Sixth
5:8
)
Minor Third - - * !
(5:6) V
) *-- Major Sixth
3:5
1:1}
0.75
Dimin. Third - - U
(225 : 256) *
| ' - - Augm. Sixth
128 : 225
j
Major Second i
(8: 9 ) (
r sj
1 ' I- - - Minor Seventh
g : 16
[i:H
0.83333
Minor Second ' ' -: j
(15 : 16) \
r ss
H-- Major Seventh
8:15
j
Aufiin Prime """5
r ;r
f i : i}J
0.91666
(128 :" 135) (
c L -Dimin. Octave
25:48
'
Perfect Prime - - ^
E .cr
(i : i) (
'--Perfect Octave
i: 2
i: 2
I. 00000
* The greater chromatic Second ; the lesser (e. g. <W#) is 24 : 25.
f The greater whole tone ; the lesser (e. g. d-e) is 9 10.
INTIMO-ISORRHYTHMIC.
Minor, when a chromatic semitone nar-
rower than major or perfect. . .Perfect:
the Prime, Fourth, Fifth, and Octave.
..Redundant, see Augmented. . . Sharp,
see Augmented.' 'Simple, when not
wider than the Qcteve... Superfluous,
see Augmented.
In'timo, Intimis'simo (It.) Compare
Innig.
Intona're (It.) To intone.
Intonation, i. The production of tone,
either instrumental or vocal, especially
the latter ; when applied to the pitch of
the tone produced, it is said to be cor-
rect, pure, just, true, etc., in opposition
to incorrect, impure, false. 2. The
method of chanting employed in Plain
Song-, 3. The opening notes leading
up to the reciting-tone of a chant
Fixed intonation, see Fixed*
In'tonator. See Monochord i.
Intonatu'ra, Intonazio'ne (It.) intona-
tion; pitch.
Intoaie'ren (Ger.) To intone ; also, to
voice (as organ-pipes) ; voicing.
Intra'da. (It. intra'ta, entra'ta; Ger.
Infra* de ; Fr. entr/e.) r. An instru-
mental prelude or overture, especially
the pompous introduction to the earlier
dramas and operas ; hence applied to
opening movements of various descrip-
tions. 2. See Entr/e.
Intre'pido,-a (It.) Bold . . . Intrepida-
mertte, boldly. . Jntrepidez'za, boldness.
Introduction. A phrase or division pre-
liminary to and preparatory of a com-
position or movement; may vary in
length from a short strain up to an ex-
tended and independent movement.
(It introduzio'ne^
Introlt. (Lat intro'itus, "entrance";
It. intro'ito.} An antiphon .sung while
the priest is approaching the altar to
celebrate the Mass ; formerly an entire
psalm, but abbreviated later. In the
.modern Anglican Church, an anthem or
'psalm.
Invention. A short piece in free con-
trapuntal style, developing one motive
in an impromptu fashion. (Comp:
Bach's 30 Inventions.)
Inversion, i. (Ger. Um'kehrung ; Fr.
rmversement; It, river samen' to, rivol'-
fa) The transposition of the notes form-
ing an interval or a fundamental chord ;
(A) A simple interval is inverted by
setting its lower note an octave higher,
or its higher note an octave lower (see
Interval); compound intervals must first
be reduced to simple ones, and tl\en in-
verted ; (B) A chord is inverted when
its lowest note is not the root ; thus. any
triad has 2 inversions,- e.g.:
a be'
ift inv. i
a is the fundamental position; I, ist in-
version, or chord of the sixth ; c, 2nd
inversion, or chord >of the fourth and
sixth ; a chord of the seventh has 3
inversions, e. g. :
abed
p
istinv. zndinv. $rdinv:
a, fund, position ; b, ist inversion, or
chord of the fifth and sixth ; c, 2nd in-
version, or chord of the third and fourth ;
d, srdinversion, or chord of the second.
2. In double counterpoint, the trans-
position of 2 parts, the higher being set
below the lower, or vice versa ; this trans-
position may be by tfn octave or some
other interval, and is technically termed
* * inversion in the octave ", * 'in the fifth",
* * in the tenth ", etc. 3. The repetition
of a theme in contrary motion, ascend-
ing intervals being answered by de-
scending ones, and vice versa; also
called imitation in contrary 'motion, or
imitation by inversion. 4. An organ-
point is termed inverted when in some
other part than the lowest.
Invi'tatory. (Lat. inwtato'rium?) In
the R. C, Church, the variable antiphon
" to the Venite, at matins ; in the Greek
Church, the' triple " O come, let us
worship ", preceding the psalm at each
of the canonical hours ;in the Angli-
' can Church, the versicle " Praise ye the
Lord " with the response " the Lord's
name be praised ", at matins.
Ionian. See Mode.
Tra (It.) Wrath, passion ; con ira,
wrathfully, passionately. .Jra'to, wrath-
ful, passionate.
Irlandais,-e (Fr.) Hibernian, Irish.
Iro'njco,-a(It) Ironical. . Jronicamen'-
te, ironically.
Irregular cadence. See Cadence.
Irresolir'to (It.) Irresolute, undecided,
hesitating. .
Isorrhyti/mic, (Ger. is
ISTESSO TEMPO- JUBExHORN.
105
In, prosody, an isorr.footis one divisi-
ble into 2 parts containing an equal
number of rhythmic units, i. e. one
having thesis and arsis of equal length ;
as the dactyl ( !>-" ^), anapest (^ ^1
, ), and spondee ( | ),
Istes'so tempo, 1* (It.) 4< The same
tempo" (or time) ; signifies (i) that the
tempo of either the measure or measure-
note remains as before, after a change
of time-signature ; or (2) that a move-
ment previously interrupted is to be re-
sumed. (Also Lo stesso tempo?)
Istrumen'to (It.) Instrument. ..Istru-
menti a pufzico (Ger. Kneifinstru-
mente), stringed instr.s plucked with
fingers or ^\^ir^m...Istrumentazio f -
ne, instrumentation.
Italian sixth. See Extreme.
Italien,-ne (Fr.) Italian ; h Titalienne,
in the Italian style.
I'te, mis'sa est. See Mass.
. J.
Jack, i. In the harpsichord and clavi-
chord, an upright slip of wood on the
rear end of the J key-lever, carrying (in
the former) a bit of crow-quill set at a
right angle so as to pluck or twang the
string, or (in the latter) a metallic tan-
gent 2. Inthepfte., the escapement-
lever, usually called the hopper or grass-
hopper,
Jagd'horn (Ger.) Hunting-horn,. .Jvgd'-
stuck, hunting-piece,
Ja'gerchor (Ger.) Hunters' chorus;
hunting-chorus. ' '
Jale'o (Span.) A Spanish national dance
for one performer, in 3-8 time and
moderate tempo.
Jalousie'schweller (Ger,)
tian-blmd " swell. S<
JaM'Mry nrarfft^ -.,,,
musik, music for triangle, cymbals, aad
';bass drum,) -Ac^ding tp GROVE, the
Jalnizary tand " contained I large and
3small oboes, and i piccolo flute, all of
very sTirill character; I large and 2
small kettledrums, one big and 3 small
long drums, 3 cymbals, and 2 triangles".
j'anko keyboard. See Keyboard.
Jeu (Fr.) i. Style of playing, 2 (^l.jeux).
A stop of an organ, harmonium, harp-
sichord, etc. . .Jeu a louche, flue-stop,
. .Jeu c/leste> see Ce'leste. . .Jeu d'anche,
reed-stop. . .Jeu d"ange t vox angelica.
flutes, flute-stop, . .Jeu
tation t (a) mutation-stop ; (b) mixture-
stop. . Jeu dt timbres, Glockenspiel: . .
Jeu. de violes, consort of viols. . .Jeu'di
voix humaine^ vox humana. ..Grand
jeu, pleinjeu, full organ ; full power;
. .Demi-jeU) half power.
Jew's-harp. (Ger. Maultrommel; Fr.,
trompc^ guimbarfc; It. trom'ba.) A
small instr. with a rigid iron frame,
within which is adjusted a thin, vibra-
tile metallic tongue ; the frame is held
between the teeth, and the metallic
tongue, being plucked with the finger,
produces tones reinforced in loudness
and determined in pitch by the cavity
(air-space) of the mouth. Formerly also'
jezv's-trumf, trump, tromp.
Jig, (Fr, and Ger. Gigue; It.^V-) A
species of country-dance, though with
all conceivable modifications of step
and gesture, usually in triple or com-
pound time, and in rapid tempo. In
the Suite, the Gigue is generally the
last movement.
Jingles. The disks of metal attached at
intervals to the hoop of the tambourine,
Jocula'tor (Lat.) See Jongleur.
JoMeln (vat), Jo'dler (noun) (Ger.) _ A
favorite style of singing among the in-
habitants of the Alps, characterized,by
a frequent arid unprepared alternation
of fal$etto tones with those of the chest-
register. A Jodler is a song or refrain
sung as above.
Jongleur (Fr.) !A wandering minstrel in.
medieval France, and also in England
under the Norman kings ; later, a jug-
gler or mountebank.
Jo 7 ta (Span.) A national dance of north-
ern Spain, danced by couples, in triple
time and rapid movement, somewhat
resembling a waltz, though with inn^u-
extempore and fantastic varia^
step, and accompa&ueo! iry iffe
ana-ciajido-lin, with vocal In-"
tertades. v ' ' " '
Jouer (Fr.) To play (any instrument) ;
used with de, du, de F.
Jour (Fr., " day.") A corde hjour is an
, open string.
A dance of the ,negroes in the
Southern States, forming an essential
feature of the breakdown.
Jumbal, (Ger.) .An organ-stop of either
2 or 4-foot pitch.
Ju'belhorn (Ger.} See Klappenhor*^
106
JUBILATE KERAULOPHON.
Jabila'te. In the Anglican liturgy, the
icoth psalm, following the second les-
son in the morning service; flamed
from the first word of the psalm in the
Vulgate.
Jubila'tio (Lat.) In the R. C. musical
service, the melodic cadence or coda on
the last syllable of " alleluia"; also
Jubilus.
Julnlus (Lat.) i. Same zs Jubitatio.
2. An extended melodic phrase or orna-
ment sung to one vowel.
Ju'la (Ger.) An obsolete si-foot organ-
stop.
Jump. I. See Dump. 2. A leap.
Jung'feniregal or Jung 'fernstimme
(Ger.) Vox angelica. (Lat. also vox
virginea)
Jupiter Symphony. Mozart's 4Qth (and
last) symphony, in C-major.
Juste (Fr.) Just, true, accurate (said of
intonation). . .Justesse, purity (of tone) ;
correctness, accuracy (of ear or voice).
K.
Kadenz' (Ger.) Cadence; close; ca-
denza. . .Ab'gebrochene K.> interrupted
&dttLte.,.Auf'gehaltene K^ the fer-
mata (usually on the J chord) before
a cadenza... Plagal' kadenz, plagal ca-
dence. . . Trug'kadenz, deceptive ca-
dence. . . Un'vollkommene (voll'kom-
mene) K"., imperfect (perfect) cadence.
Also frequently Schluss (close),
which see.
Kalama'ika, A Hungarian national
dance in 2-4 time and rapid tempo, of
an animated and passionate character.
Kalkant' (Ger,) A " bellows-treader"
of the older German organs. . . Kalkan'-
tenglocke^ bell-signal for the blower.
Kam'mer (Ger., imitating It. camera,^
A private room or small hall. ..^fl/-
merkantate, chamber^cantata . . .Kam'-
merkomponist, court-composer (for a
prince's private band). . .Kam'merkon-
ztrt, (a) chamber-concert, (b) chamber-
concerto . . . Kam'merm usib t chamber-
music^. .ICant'mermusiker, court-musi-
cian . . . Kam'mer sanger, court-singer .
Kam'mtrstil^ the style of chamber-
music. . . Karn'merton^ normal or stan-
dard orchestral pitch (now ^=435);
see Chorton. , .Kam'mcrvirtvoS) court-
virtuoso,
Ka'non (Ger.) Canon.
Kanta'te (Ger.) Cantata.
Kanun'. A sort of Turkish dulcimer
or zither with gut strings, played with
plectra adjusted like thimbles on the
finger-tips.
Kanzel'le (Ger.) Groove (in windchest.)
Kanzo'ne (Ger.) Canzone.
Kapel'le (Ger.) I. Especially in the i8th
century, a company of musicians, either
instrumentalists or vocalists, or both,
maintained as part of the establishmemt
of a court or nobleman, or of some
church dignitary. 2. In modern usage,
an orchestra. . .Kapell'knabe^ choir-
boy'. . . Kapellmeister, (a) conductor of
an orchestra ; (b) Choir-mdster. (Some-
times literally translated chapel-master.)
. . Kapellfmeistermusiki ' ' band-master
music", i. e. music filled with reminis-
cences from works familiar to the con-
ductor-composer, and hence the reverse
of original.
Kapodas'ter (Gen) Capotasto.
Kassation 7 (Ger.) Cassazione.
Kastagnet x ten (Ger., pi.) Castanets.
Katalek x tisch (Ger.) Catalectic.
Ka'tzenmusik (Ger., " cat-music".) A
callithumpian concert, mock serenade.
Kavati'ne (Ger.) Cavatina.
Kazoo 7 . A musical (?) toy, consisting of
a pasteboard tube furnished with a gut
string, which vibrates when the per-
former sings into the tube.
Keck (Ger,) Bold, confident; pert.
(Also adverb.). . .JCeck'Jieit^ boldness,
confidence.
Kelrte (Ger.) Throat... Kttffertig.
keit, vocal &Wi...Jeh?kopf t larynx.
..Kehl'scklag($T. coup de glotte), sud-
den, firm attack of a vocal tone, the vo-
cal cords closing and adjusting them-
selves simultaneously with the emission
of air.
KehraV, Kehraus' (Ger.) Familiar
term for the concluding dance at a
party or ball.
Ken'ner (Ger.) A connoisseur, expert
Kent bugle. (Ger. Ktnthorn^ Key-
bugle.
Kerau/lophon, In the organ, an 8-foot
partial flue-stop, having metal pipes
of small scale, each surmounted by an
adjustable ring, and with a hole bored
near the top ; the tone is soft and
KEREN KEYBOARD.
103
reedy. Inv. by Gray and Davidson o
England.
Keren. A Hebrew trumpet.
Kes'sel (Ger.) Cup (in mouthpiece <
brass mstr.s). ..Kes'selpauke, kettli
drum (usually simply Pauke).
Ket'tentriller (Ger.) Chain of trills.
Kettledrum. (Ger. Pau'ke; Fr. tim
bale; It. tim'fano.) The only orches
tral drum tuned to accord with othe
instruments. It consists of a hollow
brass or copper hemisphere (the kettle
resting on a tripod, with a head of ve!
lum stretched by means of an iron ring
and tightened by a set of screws or
system of cords and braces. It is gener
ally played in pairs, the larger drum
yielding any tone from F to c, and th
smaller,^ >-,., , accord
, in g a
the heai
is relaxed or tightened. The timpan
were formerly noted as transposing in
str.s (i. e. in 6", with the added direction
" Timpaniin Ify, inZ>fr," etc.), butnow
the notes desired are generally written
As used at first, they took only the toni<
and dominant of the movement, chiefl]
as a rhythmical reinforcement; now
they take very various intervals, anc
are employed to obtain musical anc
dramatic effects. They are struck with
2 sticks having elastic handles and soft
knobs of felt, sponge, and the like.
Key (l). (Ger. Ton'art; Fr. mode, ton;
It. mo' do, to'no.) The series of tones
forming any given major or minor
scale, considered with special reference
to their harmonic relations, particularly
the relation of the other tones to the
tonic, or key-note; the term "scale"
indicates simply their melodic succes-
sion. (Comp. Tonality^ Each key is
named after its key-note, as (7-major,
tf-minor. See General View, page 108.
The following keys :
E A * : ( c7-sharpmaj.[=:Z>-flat maj.l
: \ A -sharp min.[=j5-flat min.J
( C-flat maj.r=^-major]
\ .4 -flat inin.t=<-sharp min. J
are comparatively little used, being en-
harmonically equivalent to the simpler
keys added in brackets. . .Attendant
keys, see Attendant... Chromatic key,
one having sharps or flats in the signa-
ture; opp. tp natural key. ., Extreme t
key, a remote key. ..Major key, one
having a major third and major sixth.
. .Minor key, one having a minor third
and sixth ... Natural key, one with
neither sharps nor flats in the signature.
..Parallel key, (a) a minor key with
the same key-note as the given major
key, or vice versa ; (b) same as Rela-
Hue key, see Relative. . .Remote key, an
indirectly related key (comp. Phone, 4).
Key (2). (Ger. Tas'te; Fr. touch* j It
ta'sto.) I. A digital or finger-lever in
a pfte., organ, etc. 2. A pedal orfoot-
key in the organ and pedal-piano.
Key (3). (Ger. Klap'fe; Fr. c&, clef;
It. ckia've.) In various wind-instr.s, a
_ mechanical contrivance for opening or
closing a hole in the side of the tube,
thus shortening or lengthening the vi-
brating air-column and consequently
raising or lowering the pitch of the tone
produced. The key here replaces the
finger-tip; it is attached to a lever
worked by the finger or thumb, and
differs in principle from the valve in
lying flat outside the tube.
Key (4). A tuning-key.
Key (5). A clef. (Obsolete.)
Key-action. In the pfte. or organ, the
entire mechanism connected with and
set in action by the keys, including the
latter themselves.
Keyboard. (Ger. JKlaviatur*; Fr. cla-
vier; It. tastatu'ra, tastiira.) The
keys or digitals of the pfte., organ, etc.,
taken collectively. The modern stand-
ard keyboard is the product of an evo-
lution extending over 1,000 years. Its
only successful rival at present is the
Jank6 keyboard, inv. by Paul yon
Jankoof Totis, Hungary, in 1882, which
presents to the eye the appearance of
six different rows of keys arranged step-
wise, one above the other. But the
corresponding keys in the 1st, 3rd, and
5th rows are all fixed on one key-lever ;
thus, if C be struck in the 1st (lowest)
row, the corresponding keys 'in the 3rd
-and 5th rows are depressed ; further,
the 2nd, 4th, and 6th rows are similarly
connected ; so that any given tone can
be struck in three different places, ad-
mitting of the choice of the key most
convenient to the position of the hand
at any given instant. The 6 rows are
therefore arranged in 3 pairs; in the
Jpwer row of any pair the succession of
KEV-BUGLE-KEY-NOTE.
GENERAL VIEW OF THE KEYS.
Kcy-sxgna- English.
German. French. Italian.
ture.
rt
,/_ J C-major
m - - 1 A-miior
Cdur Ut majeur Do maggiore { Natural
Amoll La mineur La minore J keys-
T
"ffl j G-major
jjp^ 1 E-minor
Gdur Sol majeur Sol maggiore
E moll Mi mineur Mi minore
[jjffij J D-major
Ittb *i B-miiior
D dur Re 1 majeur Re maggiore
H moll Si mineur Si minore
jA-major A dur La majeur La maggiore
j F-sharp minor Fis moll Fa diese mineur Fa diesis minore
j E-major E dur Mi majeur Mi maggiore
i C-sharp miner Cis moll Ut diese mineur Do diesis minore
j B-major H dur Si majeur ^ Si ^
"j G-sharp minor Gis moll Sol diese mineur Sol diesis minore
j F-sharp major Fis dur Fa diese majeur Fa diesis maggiore
{ D- sharp minor Dis moll Re diese mineur Re diesis minore
j G-flat major Ges dui* Sol bemol majeur Sol bemolle maggiore
| E-flat minor Es moll Mi bemol mineur Mi bemolle minore
J D-flat major Bes dur Re" bemol znajeur Re bemolle maggiore
I B-fiat minor B moll Si bemol mineur Si bemolle minore
j A-flat major As dur La be_mol majeur La bemolle maggiore
j F-minor F moll Fa mineur Fa minore
( E-flat major Es dur Mi bemol majeur Mi bemolle maggiore
{ C-minor C moll Ut mineur Do minore
Sharp
keys.
j B-flat major B dur
1 G-minor G moll
Si bemol majeur Si bemolle maggiore
Sol mineur Sol minore
JF-major .Fdur.' Fa majeur Famaggii
(D-minor Dmoll Re mineur Re minon
lore
ire
Flat
keys,
keys is C D E [white] F$ G$ A$\
[black] c [white], etc.; in the upper!
upper row of keys (in pair)
lower '* " " " lt (
Consequently, a chromatic scale is
played by the simple alternation be-
tween the successive keys of any 2 ad-
joining rows ; the fingering of all the
major scales is uniform, and all minor
scales are also fingered alike. The
width of an octave on the ordinary key-
board is just that of a tenth on this ; so
that large hands can stretch a thirteenth,
or even a fourteenth " """ 4
ey-bogfe.
row: C$1
<% Mack],
ZtflUack] FG A$ [white]
1 etc.:
CJ DJ F G A B cij .
D E FjfGjf Afl c.
Key-chord. The tonic triad. -
Keyed violin. A piano-violin.
Key-fall See Dip.
Key-harp. (Fr. clavi-harpe^ An instr.
resembling a pfte, in form, and with a
similar keyboard, but having a set of
tuning-forks in lieu of strings. Inv, in
1819 l?y Dietz and Second. (Comp,
Klaviatur-Harfe)
Key-note, The tonic.
KEYSHIP KLAVIER.
log
Keyship. Tonality. I
Key-signature. See Signature.
Key-stop; A key (digital) attached to
the fingerboard of a violin so as to re-
place the fingers in stopping the strings ;
the instr. is then called a key-stop (or
keyed-stof) violin, (Comp, Klavier-
Violoncetlo^
Key-tone. Same as key-note.
Key-trumpet. A trumpet provided with
keys.
Kicks (Gen) The " goose".
Kin. An ancient Chinese instr., consist-
ing of a soundboard with 2 bridges,
'over which silk strings varying in num-
ber from 5 to 25 are stretched ; they are
plucked with the fingers.
Kin'derscenen (Ger,) Scenes of Child-
hood (Schumann) . . . Kin' der stile ke,
pieces for children.
Kind'lich (Ger.) Childlike ; with fresh,
naive effect.
King. An ancient Chinese instr., con-
sisting of a graduated series of 1 6 sonor-
ous stones (or plates of metal), sus-
pended by cords and struck with a
mallet.
Kir'ch enmusik (Ger,) Church-music.
..Kv^chenton (pi-tone), a chtirch-
raode...-/TzVf/^wj^7, (a) the style of
harmonic progression peculiar to the
medieval church-modes; (l>) the style
of sacred music.
Kis'sar t The 5-stringed Abyssinian lyre.
Kit. (Ger. Taf schengeige ; Fr. pochette ;
It. sordi'no) The small old-fashioned
violin used by dancing-masters, with
the accordatura ^-g-W*, and about 16
inches ia length over all.
Ki'thara (Gk.) A harp-like instr. of the
ancient Greeks ; \ancestor (in name) of
the guitar, cithern, zither^ etc.
Klang (Ger.) I. A sound. 2. A com-
posite musical tone (a fundamental tone
with its harmonics) ; rendered by Tyn-
dall "clang". 3. See Phone, i...
Khng t boden^ soundboard (usually Re-
sonanssfboden. . . fClang / farbe > " clang-
tint", "tone-color", quality of tone.
. .Klan^folge^ a progression of chords,
viewed from- the standpoint of their
tonality, . . Klang figuren^ Chladni's
figures ^ see Nodal lines... Klang'ge'-
schltcht, mode. . .Klang'schliissel, see
, Phone, 6. . .Klangstufe, degree ; in-
terval, . - Klang'wrtret'ungi see Phone t
3. . .JClan^verivandschaft^ chord-re-
lationship. -
Klap'pe (Ger.) Key 3 ... JCla/fetthdrn,
key-bugle.
Klarinet'te (Ger.) Clarinet.
Klau'sel (Ger.) Clausula, cadence.,.
Bass' klausel, the dominant-tonic skip
of the bass at the close.
Klavaoli'ne (Ger.) See &olodicon*
Klavi- (Ger.) See Clam-.
Klaviatur' (Ger.) Keyboard... Kkn*.
atur-Harfe (or Klamer-Ha>rfe), ' a
piano-harp, i. e. a harp with piano-key-
board, inv. 1893 by Ignaz Lutz of
Vienna; the strings are plucked or
twanged by plectra (in lieu of hammers)
actuated by the digitals ; the effect
closely resembles that of the double-
action harp, the tone being even fuller.
..Klawatur-Zither, piano-zither, 'i. e.
a small pfte. in grand shape, the single
strings of which are twanged by playing
on the keyboard ; inv. 1893 by Ignaz
Lutz of Vienna.
Klavier' (Ger.) I. ^A keyboard. 2. A
keyboard stringed instr.; specifically, in
the j8th century, a clavichord ; now, a
pfte. of any Y\rA.*.Klamer'auszv.g y
(a) pf te. -arrangement ; (b) vocal score .. ;
Klamer-Harmoniuni, a combined pfte,
andharmon.jinv. 1893 byF.Worouecki
of Przemysl, Galicia, is shaped like a
small grand piano, the harmonium-
mechanism being attached below and
behind the body and controlled by from
. 5 to 10 draw-stops. ^Klame^holoe^
hannoniphon. ^KlameSmfa sig t suitable
for the pfte., in pfte. -style. . .Klawer'-
satz, (music in) pfte,-style, pfte.-music,
pfte. -writing* \Klamersfiel, pfte.-playr
ing. . .Klavier- Violoncello ) the inven-
tion, in" 1893, of Prof, de Vlaminck of
Brussels. To a 'cello, fixed on a hor-
izontal frame about the height of the
knee, a keyboard is attached in such a
manner, above the strings, that by ma-
nipulating it the player's left hand caii
effect all stops and double-stops. With
the bow, all the effects on the 'cello as
ordinarily played are obtainable ; while
purity of intonation is attained with
mathematical accuracy by the aid of the
tangents actuated by the keys ; even the
vibrato effect can be brought out.
Klavier- Viola, a viola to which a key-
mechanism similar to the foregoing is
applied ; when played, it is set on alow
table or stand.
KLEIN-KURZ.
Klein (Ger.) Small; minor. . *Kldn'
gedaekt^ flute (organ-stop).
KHng'ende Stim'raen (Ger.) Speaking
or sounding stops (of an organ) ; opp, to
stum'me Register*
Knee-stop. A knee-lever under the
manual of the reed -organ ; there are :
kinds, used (a) to control the supply o]
wind ; (b) to open and shut the swell-
box; (c) to draw all the~stops.
Kneif' instrument (Ger.) An instr. hav-
ing strings plucked by the fingers or a
plectrum.
Knie'geige (Ger.) Viola da gamba. . .
Knie'g uitarre, guitare d'amour. * . .
KniSzug^ knee-stop,
Knopf regal (Ger.) See Apfelregal
Kno'te (Ger.) Node,
nodal point.
Kollektiv'zug (Ger.) Composition-
pedal
'Kol'lern (Ger.) See Sgallinacciare.
Kolophon'. See Colophony.
Kombinations'pedal (Ger.) Combina-
tion-pedal. . .-^Combinations 4 'ton, combi-
n'ation-tone. ^
Komponie'ren (Ger.) To compose...
JComponiert \ composed.. .Kompomst' ^
composer*
Kon'trabass(Ger.) Double-bass... Kon'-
trafagott^ double-bassoon... Kon'tra-
okiave, contra-octave. . .Kon'lrapunkt,
counterpoint. ..Kon'irasubjekt, counter-
subject.
Konzert' (Ger.) Concert; concerto.
(Also Concert} . . . JConserfmeister,
leader, first violin... Konurtfoper, a
li^ht opera for concert performance
without stage-accessories. . .Konzerlf-
stuck, (a) a short concerto in one move-
ment and free form ; (b) any short solo
piece for public performance.
Kopf'stimme (Ger.) Head-voice.
Kop'pel (Ger.) Coupler... Koppd ab,
coupler off. . .K. an, draw coupler.
Kornett' (Ger.) Cornet.
Kosalcisch (Ger.) A national dance of
the Cossacks, the melody of which con-
sists of 2 8-measure repeats in 2-4 time.
Ko'to. The Japanese 2ither-harp, with
13 silk strings stretched over an arching
ctolong soundboard, each having a sep-
arate movable bridge, by adjusting
which the string can be tuned. Com-
pass about * octaves. The player uses
both hands ; the chromatic tones are
produced by pressing the strings behind
the bridges.
Kraft (Ger.) Force, vigor, energy..
Kraf'tig, forceful, vigorous. (Also
adverb.}
Kra'gen (Ger.) Peg-box (of a lute).
Krakowiak. See Cracovienne.
Krau'sel (Ger.) Mordent
Krebs'ggngig (Gen) Cancrizans, retro-
grade. *.JCreb$ f kanon> canon cancri-
zans.
KreKschend (Ger.) Harsh, strident j
screeching, screaming.
Kreuz (Ger., " a cross".) A sharp
. .Kreutfsaitig) overstrung. . .Kre
tonart) a sharp key.
Krie'gerisch (Ger.) Martial, warlike.
Kriegs^ied (Ger.) War-song.
(Ger.) Chroma*
Kruram/bogen (Ger.) Crook. . JCrumm'-
Jiorn t (fCromfhorn, JCrumhorn, hence
Fr. cromorne and It. cormomc ; It.
also cornamu'to tor'to^ or, for short,
stoiSto} i. An obsolete wood-wind instr.
of the Bombard class, blown by means of
a double reed within a cupped mouth-
piece, and differing from the bombards
by the semi-circular turn of the lower
part of the tube and by its remarkably
narrow compass (a ninth). In the i6th
century it was made in 3 or 4 different
sizes, treble, alto, (tenor), and bass, and
had 6 ventages on the straight part of
the tube. The tone had a melancholy
timbre, which was imitated 2. in the
organ-stop of the same name (also
cormorne^ cremona, phodnx)> formerly
in vogue for small-sized organs and for
the echo-work of larger ones (of 8 and
4-foot pitch, on the pedal also of 16-
foot pitch as Krumm'hornbass}\ a
reed-stop, the tubes of which were fre-
quently half -covered, or conical below
and cylindrical above. [RIEMANN.]
Krus'tische Instrument (Ger.) See
Scklagfinstrumente.
Kuh^orn (Ger.) The alp-horn... Kuh^
rdgen, Kuh'rdhen^ Ranz des vaches.
Kunst (Ger.) Art; science... Jfunstf.
fugue, fuga ricercata...iTtfj/ / ^, artist,
. . Kuns filed, an a r/-song, opp. to folk-
song (Volkslied)...Kunstpfdfer, see
Stadtpfeifer.
Kurz(Ger.) Short; cnsp(ly)..,JTur'zer
"-'-'-t; short mordent. ..KuSxeOk-
KYRiE LAUTE.
ta've, short octave.., Kurz und be.
stimmt', short and decided... Kur'zer
Vor'schlag, short appoggiatura.
Ky'rie(Gk.,"Lord''.) The first word,
and hence the opening division, in the
L.
L. Abbr. for left (or Ger. links) in the
direction /. L (left hand).
La. r. The 6th Aretinian syllable. 2
(Fr., It., etc.) The note ^.-3. The
(Fr., fern. sing.)...Z<z befool, etc., see
Key i, Table.
Labecedisa'tion. See BMsation.
Labial'pfeife (Ger.) A labial (lipped)
pipe; a flue-pipe,., Labial' stimmt^ a
flue-stop.
Labisa'tion. Same as Bebisation.
La'bium (Lat) Lip (of an organ-pipe),
(Plural, in Ger. use, La'Men.)
Lacrimo'sa (Lat.) First word in the
8th strophe of the Requiem ; hence,
name of a movement or division of the
grand musical requiem, usually of a
tender and plaintive character.
La'ge (Ger.) Position (of a chord);
position, shift (in violin-playing). . .La'-
genwecksel, change of position, shifting.
. .Enge (weite) Lage, close (open) har-
mony.
Lagriman / do(It.) Complainingly, pladn-
tively^.Z^m^X "tearful", plain-
tive, in the style of a lament.
Lah. For La, in the Tonic Sol-fa system.
Lamentable (Janientan'do, lamen-
te'vole, lamento'so) (It.) In a sad,
melancholy, or plaintive style. '
Land'ler (Ger.) A slow waltz of South
Germany and Austria (whence the Fr.
name Tyrolunne), in 3-4 or 3-8 time,
and the rhythm
J J .r.,.E|j j J..J.
Lang'sam (Ger.) Slow, slowly...Z^'-
samer, slower.
Language. In a flue-pipe of an organ,
an inner partition between foot and
body ; see Pipe i, a.
Languen'do, Lariguen'te (It.) Lan-
guishing, plaintive.
Languette (Fr.) i. The tongue of a harp-
sichord-jack, on which the quill was
fixed. 2. Tongue of a reed in the
harmonium or reed-organ. 3. Pallet
(in the organ). 4. Key (on wind-
mstr.s).
Languid. Same as Language.
Languidamen'te (It) Languishingly,
languidly... Lan'guido, languid, Ian*
guishing.
Lantum. A large kind of hurdy-gurdy,
having a rotatory bellows which supplies
wind to metallic reeds, and played by
pressing buttons adjusted in front.
Lapid'eon. An instr. consisting of a
series of flint-stones graduated to the
tones of the scale, hung in a frame, and
played with hammers ; inv. by Baudry.
Largamen'te (It.) Largely, broadly; in
a manner characterized by breadth of
style without change of time. [GROVE.]
Largan'do (It.) "Growing broader 11 ,
i. e. slower and more marked ; generally
a crescendo is implied.
Large. See Notation, 3.
Large, Largement (Fr.) Largamente
(Ger. lrdt}\ sostenuto (Ger. getragen).
Larghet'to (It.) Dimin. of Largo; calls
for a somewhat quicker movement,
nearly equivalent to Andantino.
Lar'go (It.; superl. larghis'simo.) Large,
broad ; the slowest tempo-mark, calling
for a slow and stately movement with
ample breadth of style. . .Z. assa'i, with
due breadth and slowness. . .Z. dimolto,
or molto largo, an intensification of
Largo. . .Poco largo, "with some
breadth"; can occur even during an
Allegro.
Larigot (Fr.) Originally, a land of
shepherd's pipe, or flageolet ; hence, an
organ-stop of i^ foot pitch, one of
the shrillest registers,
Lau'da (Lat.) A laud (hymn or song of
praise). . .Lau'des, lauds'; together with
matins, the first of the 7 canonical
hours, taking its name from the I48th,
I49th, and isoth Psalms then sung.
Lauf(Ger.) i. See Z^/^js. Peg-
box (usually WiSoelkasten).
Lau^er (Ger.) -A run,
Lau'nig (Ger.) i. With light, gay humor.
2. With facile, characteristic expres-
sion.
Laut (Ger.) r. Loud. 2. A sound.
Lau'te (Ger.) A lute..^** 7 ^^, a
viol. . Lau'teninstrumente, see Kneif*
imtrumente... Lanterns?, lute-player.
...Lau'tenmacher, see Luthier.
CI2
LAVOLTA LEITMOTIV.
LavoTta (It.) An old Italian dance in
triple time, resembling the waltz.
Lay. A melody or tune.
Le (Fr. and It.) The.
Lead. I. The giving-out or proposition
of a theme by one part. 2. A cue
(comp. Presa).
Leader, i. Conductor, director. 2.
In the orchestra, the first violin ; in a
band, the first cornet ; in a mixed
chorus, the first soprano. (In small
orchestras the leader [ist violin] is still,
as was the rule in earlier times, also
the conductor,)
Leading. I (noun). In a composition,
the melodic progression of any part or
parts. 2 (adjective). Principal, chief;
guiding, directing. . .Leading-chord, the
dominant chord, as leading into that of
the tomz... Leading melody, principal
melody or theme. . .Leading-motive, see
Leitmotiv. ..Leading-note, -tone (Ger.
Letfton; Fr. note sensible; It. no'ta
semi'biti), the 7th degree of the major
and harmonic minor scales; so called
because of its tendency, in certain
melodic and chordal progressions, to
the tonic.
Leaning-note. Appoggiatura.
Leap. i. In piano-playing, a spring
" from one note or chord to another, in
which the hand is lifted clear of the
keyboard. 2. See Skip.
Leben'dig, - Leb'haft (Ger.) Lively,
animated. (Also adverb.). . .Leb'kaftig-
keit, animation ; Mit L. und durchau/
mit Empfndung vnd Ausdruck, with
animation, and with feeling and ex-
pression throughout,
Ledger-line. See Leger-Une.
Legan'do. (It.) See Legato.
Lega'to (It. ; superl. legatis'simo)
'"Bound"; a direction to perform the
passage so marked in a smooth and
connected manner, with no break be-
tween the tones ; also indicated by the
" legato-mark, a curving line drawn over
or under notes to be so executed...
Lega'fabogen (Ger,), legato-mark, slur.
Legatu'ra (It.) A tie ; a syncopation.. .
'L & voct, see Ligature 2.
Le'gend. (Ger. Legen'de ; Fr. Ugende?)
A composition based on a poem ^ of
lyrico-epic character, the poem serving
either as text or program, . . Legen'den-
ton, im (Ger.), in the style of a romance
or legend
Leger, le"gere (Fr.) Light, nimble...
Le'gerement, lightly, nimbly, >
Leg / er-line. (Ger; Hilfs'linie; Fr. ligne
ajoutte; It. ri'go aggiun'to or finto.)
One of the short auxiliary lines used for
writing notes which lie above or below
the staff. Leger-lines are counted away
from the staff, either up_or down...
Leger-space, a space bounded on either
side or both sides by a leger-line.
Leggerez'za (It.) Lightness, swiftness.
. .Leggermen'te, lightiy, swiftly. . .Leg-
giro, same as Leggiero.
Leggiadramen'te. (It.) Neatly, ele-
gantly, gracefully.. .Leggia'dro, neat,
graceful, elegant ; in a brisk and cheer-
ful style.
Leggieramen'te, Leggiermen'te (It.)
Lightly, swiftly, . .Leggie're, light, etc.
. JLeggierez' za, lightness, swiftness. . .
Legg&ro, a direction indicating, in
piano-technic, that the passage is to be
performed with as great lightness as is
consistent with the degree of loudness
required ; generally in swift piano pas-
sages with little rhythmical emphasis.
It differs from Legato in calling for a
mere down-stroke of the fingers without
pressure, and with a quick, springy re-
coil. . .L. con moto, lightly and swiftly.
Le'gno, col (It.) "With the stick" ; in
violin-playing, a direction to let the
stick of 'the bow fall on the strings.
Leicht(Ger.) i. Light, brisk.--2. Easy,
facile. . .Leicht bewegt, (a) leggiero con
moto ; (b) with slight agitation.
Lei'denschaft (Gen) Passion, fervency,
vehemence. . . Mit t or lei' denschaft-
lick, passionately, vehemently.
Lei'er (Ger.) Lyre; L.&asten, hind-organ.
Lei'se (Ger.) Low, soft, piano.
Lei'ter (Ger., * * ladder ".) Scale ( Ton'-
letter). . .Lei'tereigen, , proper or belong-
ing to the scale. . .Lefterfremd, foreign
to the scale.
Leitmotiv [-teef"] (Ger.) Leading-mo-
tive ; a term brought into special prom-
inence by Wagner's musical dramas,
and applied to any striking mus. motive
(theme, phrase) characteristic of or
accompanying one of the persons of the
drama or some particular idea, emotion,
or situation in the latter ; the motive
recurring reminiscently at suitable stages
of the action... Also used of similar
motives in recent operas, oratorios, and
program-music.
tEITTON-LIE.
1*3
Leit'ton (Ger.) Leading-tone.
Lenez'za, con (It.) In a gentle, quiet
manner.
Le'no (It) Faiat, feeble.
Lent,-e (Fr.) Slow. . .Lentement, slowly.
. .Lenteur, slowness.
Len'to (It.) Slow ; a tempo-mark inter-
mediate between 'Andante and Largo
(comp. art Tempo-mavlt). Also used
as a qualifying term, as Adagio non
lento. . .Lentamen'te, slowly. . .Lentan'-
do, growing slower, retarding ; a direc-
tion to perform a passage with increas-
ing slowness (ritardando, rallentando)*
. .Lentes^za^ con, slowly, deliberately.
Lesser. Minor; as the lesser third...
Lesser appoggiatura, shortappoggiatura.
..Lesser whole tone, see Intervals,
Table III, foot-note.
Lesson. (Fr. fyon.) In the ryth and
1 8th centuries, the name of the several
pieces for the harpsichord, etc., which,
when combined, formed a Suite,
Le'sto (It.) Lively, brisk.
Letter-name. A letter used to desig-
nate a tone, note, key, or staff-degree.
See Alphabetical notation.
Lev (Fr.) i. Up-beat. 3. Auftakt,
Ley'er (Ger.) Earlier spelling of Leier.
Liaison (Fr.) I. A tie. 2 (liaison
d'harmonie). A syncopation, 3. See
Ligature 2.
Liberiion. An automatic music-box,
distinguished by the feature that the
notes are represented by perforations in
sheets of tough cardboard, which (as
ik&yfass through the box) can be made
continuous, so that compositions of any
desired length may be performed.
Liberamen'te (I*.), Librement (Fr.)
Freely.
Librettist, A writer of libretti,.. Li-
brefto (It., pi.-/. ; Fr. ditto, or livret;
Ger. Text). A "booklet" ; specifically,
one containing the words of an opera,
oratorio, etc. ; also such words or text,
whether in book-form or not ; a book.
License. (Ger. Frei'heit; Fr. licence ;
It. Kcen'za.) An intentional deviation
from established custom or rule. . . Con
alcu'no licenza (It.), with a certain
freedom.
Lice'o (It.) Academy (of music).
Lich'anos (Gk.) See Lyre i.
Lie-(Fr.) Tied ; legato.
Lieb'lich (Ger.) Lovely, sweet, charm-
ing ; often with names of organ-stops.
Lied (Ger.) Song.AA preeminently Ger-
man song-form is that of the durchf-
komponiertes Lied, which differs from
the ballad (Stro'phenlied) in not repeat-
ing- the same melody for each stanza,
but following closely the sense of the
words by changing melody, harmony,
and rhythm... Kims? lied, Yolks' lied,
Yolks' t(K)iimliches Lied, see those
words.. .LiefdercycluS) a cycle (set) of
songs. ,Lie*derkranz, (a) a choral so-
ciety; (), also Lie'derkreis, a set or
series of songs.. . Lie* der spiel, see Vau-
deville.. .Li? dertaf el, a singing-society
of men, of a social character... Lied-
form, see Form.
Liga'to (It.) Legato.
Ligature. (Gtr.Ligatur' ; Fr. ligature; *
It. legatu'ra) i. In mensurable music,
a connected group of notes to be sung
'to one syllable. Ligatures were de-
rived from the compound neumes ; their
simplest form is the Figura olliqua
(q. v.) (Comp. Proprietas, Improprietas,
Perfection, Imperfection^) 2. In mod-
ern music, a group or series of notes to
be executed in one breath, to one syl-
lable, or as a legato phrase. 3, A tie ;
hence, a syncopation.
Ligne (Fr.) A line. . .Ligneajoute'e (fos-
tiche, or suppMmentaire), a leger-line.
Li'mite (It) Limit.
Lim / ma. See Apotome.
Li'nea (It) A line.
Lin'gua. (It) Reed (of organ-pipe).
Lingual / pfeife (Ger.) Reed-pipe (usu-
ally Zung'enpfeife).
Lfnie (Ger.) A line. . .Li'niensystem^
the staff.
Linings. (Ger. Fattening; Fr. contre-
Misses.) In the violin, etc., the strips
of pine-wood glued inside the body to
the ribs, to stiffen the fixed structure.
Lin-Ice Hand (Oer.) Left hand.
Lip. I. (Ger. Lip'pe or [Lat] La'bium,
pL La'bien; Fr. biseau [upper lip].)
The lips of a flue-pipe are the flat
surfaces above and below the mouth,
called the upper and lower lip. See
Pipe 2, a. 2. (Ger. Arfsatz; Fr. em-
bouchure; It. imboccatufra.) ^ The art
or faculty of so adjusting the lips to the
mouthpiece of a wind-instr. as to pro-
duce artistic effects of tone ; also lipping
114
LIPPENPFEIFE-LUR.
Lip'penpfeife (Ger.) Flue-pipe (usually
Labialpfeifj).
Li'ra (It.) Lyre (see Z^). While the
ancient- lyre was a harp-like instr., the
lira of the i6th-i8th century was a
species of viol, a bow-instr. with a
varying number of strings, and made in
3 principal sizes... L. barberi'na, a
small lyre inv. by Doni of Florence in
the iyth century. * .Z. - da brae* do ,
** arm-lyre", a bow-instr. first mentioned
in the gth century, and appearing in
the i $th as an instr. resembling the
viol in form of head and in stringing,
though in other points (and finally in
the adoption of 4 strings) like the vio-
lin (see art. Violin, foot-note),. .L. da
gam'ba^ knee-lyre.. .L. tede'sca^ hurdy-
gurdy.
Li'rico,-a (It.) Lyric, lyrical,
Liro'ne (It.) The great bass lyre (also
Accor*do, Archivi&la di lira)) with as
many as 24 strings.
Li'scio (It.) Smooth, flowing.
L'istes'so. See Istesso.
Litany. (Gk. lifanei'a; Lat. and It. /z-
tani'a; Fr. (pi.) litanies; Ger. Litanei'.)
A song of supplication; "a solemn
form of prayer, sung, by priests and
choir, in alternate invocations and re-
sponses, and found in most Office-
books, both of the Eastern and West-
ern Church" [GK.OVE]. Litanies were
originally employed in processional
supplications for averting pestilence
and other dangers, and later adopted
by the Church as portions of the reg-
ular service at certain seasons.
Lit'tera significati'vae (Lat,) Single
letters, or abbreviations, of doubt-
ful significance, employed in medie-
val neumatic notation. (Ger. Roma'-
nusbuchstaben.)
Liu'to (It.) A lute.
Livre (Fr.) Book..^ livre ouvert, at
sight.
Livret (Fr.) Libretto.
Lo(It) The.
Lob'gesang (Ger.) Song or hymn of
praise.
Loch in der Stinime (Ger.) "Hole
in the voice " ; said of that part of a
register in which certain tones cannot
be made to " speak" on account of a
morbid state of the vocal organ.
Lo'co (It) Place; signifies, following
8va, "perform the notes as written'
Also al loco.
Lo'crian. (Ger. lo'krisch^ See Mode.
Long. (Lat. hnga^ See Notation, 3 ;
also for Long-rest.
Lonta'no (It.) Distant.. .Da /.. or in
lontanan'm, from a distance, far away.
Loop. I* A vibrating portion of a
body, bounded by 2 nodes. See Node.
2. The cord fastening tailpiece to
button (violin, etc.)
Lo'sung, fort'schreitende (Ger.) Reso-
lution (usually Aufldsung).
Loud pedal. Damper-pedal.
Loure (Fr.) I. An ancient Fr. bagpipe
inflated by the mouth ; hence 2. -A
dance named from the instr., on which
it was formerly played, in 6-4 or 3-4
time and slow tempo, the down-beat
strongly marked.
Lour6 (Fr.) Slurred, legato, non staccato.
Low. I. (Ger. lei'se ; Fr. douce; It.
pia'no.) Soft, not loud. 2. (Ger. tief;
Fr. bas,-se ; It. basso, -a!) Grave in
pitch, not acute.
Lugu'bre (Fr. and It.) Mournful.
Lullaby. Cradle-song, berceuse,
Lun'ga (It.) Long. Written over or
under a hold, it signifies that the latter
is to be considerably prolonged. . .Lun-
gapa'usa, a long pause or rest. Lun-
ghe (pi. of lunga), drawn out, pro-
longed ; "note" (notes) being implied.
Luo'go (It.) Same as Loco.
Lur (Danish, from Old Norse ludr, a
hollowed piece of wood.) I. A unique
pre-historic wind-instr. of bronze (alloy
of copper 88.90$, tin io.6i#, nickel
and iron 0.49$), numerous well-pre-
served specimens of which have been
found, but only in Denmark, southern
Sweden, and Mecklenburg. The long,
slender, exactly conical tube, varying
in length from 5 ft. to 7 ft. 9^ in.,
forms a sweeping, graceful curve (for-
ward from the player's lips, upward
and backward over his left shoulder,
and forward again over his head), and
terminates with a broad circular flat
plate (about 10 in. in diam.) in lieu of
a flaring bell. This plate is ornamented
with bosses in front, and on the rear
with several small bronze tassels, de-
pending loosely. The Lur has a cupped
mouthpiece, shallower and more nearly
V-shaped than that of the trombone.
LUSINGANDO-MACHtTE.
The tone is powerful and mellow. 2.
The modern Lur , of Norway and Swe-
den, is usually made of birch bark, and
is allied to the Swiss alp-horn.
Lusingan'do, Lusingan'te (It.) Coax-
ing, caressing ; also lusinghSvoh. , .
Lusinghevolmen'te, coaxingly, etc, . .
Lusinghiire, or -0, coaxing, flattering,
seductive.
Lus'tig (Ger.) Merry, gay (also adverb}.
Lute. (Ger.Lau'te; Fr,/fdA/It.AVto.)
A stringed instr,, now obsolete, of very
ancient origin ; it was brought to Eu-
rope by the Moors, who called \\Al } ud
or At 0^.:.The body has no ribs,
the back being, like that of the mando-
lin, in the vaulted shape of half a pear.
The strings, attached to a bridge fixed
on the face of the instr., and passing
over or beside the fretted fingerboard,
were plucked by the fingers, and varied
in number from 6 up to 13, the highest
or melody-string (treble, canto) being
single, and the others in pairs of uni-
sons. Bass strings off the fingerboard,
each yielding but one tone, were gener-
ally attached to a second neck ; they
were in later times covered with silver
wire, the other strings being of gut.
These bass strings were introduced in
the i6th century, and led to divers modi-
fications in the build of the instr. ; the
various forms of large double-necked
lutes then evolved (theorbo, archiliuto,
chitarrone) being general favorites, and
holding, from the isth to the I7th cen-
tury, the place in the orchestra now oc-
cupied by the bass violins. Music for
the lute was written in tablature, there
being 3 systems (French, Italian, and
German).,. A lute-player is variously
called a lutenist, lutanist, Minis t, and
lutist*
Luth (Fr.) Lute. . .Luthtrie, the trade
of, and also the instr.s made by, a
luthier* . .Luthier, formerly, a lute-
maker ; now, a maker of any instr, of
the lute or violin class.
Luttuo'so (It) Mournful, plaintive...
Luttuosamenfte, mournfully, etc.
Lyd'ian. (Ger, l/disch.} SeeJEfmfr.
Lyre. I. (Gk. and Lat l/ra; It. li'ra; Fr.
lyre; Ger. Lei'er,} A stringed instr. of
the ancient Greeks, of Egyptian or
Asiatic origin. The frame consisted of
a soundboard or resonance-box, from
which rose 2 curving arms joined above
by a cross-bar ; the strings, from 3 to
10 in number, were stretched from this
cross-bar to or over a bridge set upon
the soundboard, and were plucked with
a plectrum. The names of the strings
(whence were derived the names of most
of the tones in the Greek modes) on the
8-stringed lyre were as follows :
HyftaU, "uppermost" (as ths lyre was
held) * the longest and deepest-toned*
Parktfatc. "next to hypate".
Liwatws. " forefinger-string ".
Mtfse^ middle string".
ParamSsf, " next to Ttf ese ".
Trite, "third string" (from the lower
side).
Paraae'tei " next to the last ".
JV/fr, "last, 1 ' or "lowermost" (the high-
est in pitch).
The Kithara may be considered as &
large form of the lyre, the Chelys as a
treble lyre. The lyre differed from the
harp in having fewer strings, and from
the guitar, lute, etc., in having no fin-
gerboard ; its compass and accordatura
varied greatly. It was chiefly used to
accompany songs and recitations. 2.
An instr. used in military bands, con-
sisting of loosely suspended steel bars
tuned to the tones of the scale and
struck with a hammer. 3. See Re bee.
Lyric, lyrical. Pertaining to or proper
for the lyre, or for accompaniment on
(by) the lyre ; hence, adapted for singing
or for expression in song. The term is
applied to music and songs (or poems)
expressing subjective emotion or special
moods, in contradistinction to epic (nar-
rative), and dramatic (scenic, accom-
panied by action)... Lyric drama, the
opera. . .Lyric ofera^ one in which the
expression of subjective feeling, and the
lyric form of poetry, predominate. . .
Lyric stage, the operatic stage.
M.
M. Abbr. of It mano> and Fr. mam,
(hand); in organ-music, of manual
(usually Man.), and Lat. manua' liter j
jand of metronome (usually M. M.) and
mezzo. . .n represents the note me (mi)
in Tonic Sol-fa notation.
Ma (It.) But ; as in the phrase vivace,
ma non trofpo, lively, but not too much
so.
Machete. A small Portuguese guitar (oc-
tave-guitar), having 4 strings tuned :
9 I
or sometimes d* instead of A
n6
MACHINE-HEAD-BffANDOLIN.
Machine-head. (Ger. Mtcha'nik^ A
' rack-and-pinion adjustment substituted
far 'the ordinary tuning-pegs of the
double-bass, the guitar, and of the mel-
ody-strings of the zither.
Ma'dre, alia (It.) " To the Mother;' ;
a superscription of hymns to the Virgin.
Mad'rigal, (Ger, and Fr. Madrigal';
It. madrigqfk, madriafle, mandria'le.)
Originally, a short lyrical poem of an
amorous, pastoral, or descriptive char-
acter. Hence, a poem of this kind set
to music, which is polyphonic, with in-
cessant contrapuntal variations, and
"based (in the stricter style) on a caritus
frmusj-'it is without instrumental ac-
companiment, and differs from the
Motet in being of a secular cast. This
style of composition appears to have
, had its rise in the Low Countries to-
wards the middle of the I5th century,
- spreading thence to other European
States, and cultivated with peculiar suc-
cess in Italy and England well into the
i8th century ; in England the Madrigal
Society still flourishes. Madrigals are
written in from 3 to 8 or more parts,
and are best sung by a chorus, which
' feature forms one of the chief distinc-
, tions between the M. and the Glee (for
solo voices).
Maesto'so (It,) Majestic, dignified...
^.Maesth! (cori),M&esta' f de (con), Maeste*-
vole, Maestevolmen'te, Maestosamen'te,
with majesty or dignity, majestically,
Maestra'le (It.) Occasional term for
' the stretto of a fugue, when in canon-
form.
Maestri'a (IO Mastership, skill, virtu-
osity.
Mae'stro (It.) A master. . .M. alcem'-
fo/<?;term formerly applied to the con-
ductor of an orchestra, who sat at the
harpsichord instead of wielding the
baton. . .M. dd$u1?ti, " master of the
boys 1 *, i. e., the choir-master of St.
Peter's at Rome. . .M. delco'ro, choir-
J " master. . . M. di canto, singing-master.
. . M. di capptfla, (a) choir-master ; ()
-conductor; (f) Kapellmeister (conduc-
tor of chofus and orchestra).
i(Gk.) An ancient Greek instr.
-with ao strings tuned in, octaves two by
' two* ; hence the term mag'adize, to sing
in parallel octaves, as boys and men.
Ha'gas (Gk.) * Bridge (of a cithara or
tyre) ; fret (of a lute).
Magazin'balg (Ger.) Reservoir-bellows
(organ).
Maggiola'ta (It.) A May Song.
Maggio're (It.) Major.
Maggot. A "fancie", or piece of an
impromptu and whimsical character.
Magnificat. Name of , and first word in,
the " Magnificat anima mea dominum "
(my soul doth magnify the Lord), the
hymn or song of the Virgin Mary (Luke
I, 46-55), sung in the daily service of
th Church.
Main (Fr.) Hand . . . M. droite (gauche),
right (left) hand...^f. harmonique,
harmonic hand,
Maitre (Fr.) Master.. JIT. de chafette,
Kapellmeister, conductor. ..M.de mit~
sique, (a) conductor ; () music-master,
teacher.
Maitrise (Fr.) In France, prior to 1789,
a music-school attached to a cathedral,
for the education of young musicians,
who were called enfants de chaur. Some
few were reestablished, and still eadst.
Majesta x tisch (Ger.) Majestically).
Major. (Gvc.dur; Fr. majeur ; l\*mag-
gio're.) Lit. " greater", and thus opp, to
minor , ** lesser." (Comp. Phone ^ Inter-
val?) . , .Major cadence, one closing on a
major triad. . .M. chord or triad^ one
having a major third and,f^e^ffif4.
. . M. interval, key*$ m$]dfc t scatt, tomb-
ity, see the n<?*ms. . . M. whole tone, the
greater whole tonfi 8:9 (as c~d)\ opp.
to the lesser (or minor) whole tone 9:10
(as d-e).
MalinconTa (It.) Melancholy. .. Con
m., with melancholy expression, deject-
edly (also malinconicamen'te) . . . Malin-
co'nico {-nio'sO) -no* so), melancholy,
dejected. Also Melanconi'a, etc.
Mancan / do (It.) Decreasing in loud-
ness, dying away, decrescendo; usually,
a combination of decrescendo and ral-
leniando is intended (v. Tempo-mark).
Manche(Fr.) Neck.
Mando'la (It.) A large variety of Man-
dolin.
Man'dolinfe). (It mandoli'no.) Aninstr.
of the lute family, the body shaped like
that of a lute, though smaller, having
wire strings tuned pairwise, played with
a plectrum, and stopped on a fretted
fingerboard. There are 2 chief varie-
ties, (i) the Neapolitan (mandolino
napQlita'no), which has 4 pairs of strings
tuned^ 1 -^ 1 -^ like those of the violin ;
MAN&OLINATA-MASCHINEN.
and (2) the Milanese (mand. lumbar* do),
which has 5 or 6 pairs, ?
tuned g-^-cfi-d*-? (or .,
g-b-e l -a l -d*-e*). Com- .'
about 3 octaves
r ., n
- .'fly
:^J'
pass aout 3
Mandolina'ta (It.) A piece for mando-
lin, or played with mandolin-effect.
Mando'ra,Mando're, SzmeasMand'ota.
Ma'nico (It.) Neck (of a lute, violin, etc.)
Man'ichord. (Lat. manichof 'dium) A
term variously applied to different forms
of obsolete keyboard stringed Jnstr.s.
Mauler' (Ger.) An agrdment (harpsi-
chord- or clavichord-grace).
Mame'ra (It.) Style, manner, method.
..Con doke *., in a suave, delicate
style.
Manifold fugue. See Fugue.
Man'nerchor (Ger.) A male chorus ;
also, a composition for such a chorus.
..M&n'nergesangverein, men's choral
society... Mtinnerstimmen, men's voices.
Ma'no (It.) Hand . . . M. de'stra (sini'-
stra), right (left) hand.
Man'ual, i, A digital. 2. (Ger. Ma-
nualf; Fr. clavier; It. manua'le) An
organ-keyboard; opp.to/^/. (Com-
pare Organ.). . .Manual-key, a digital.
v , .Manual' koppel(Gtr.), a coupler con-
necting 2 manuals,
Manu'briuni (Lat.) Knob of a draw-
stop; Ger. pi. Manu'brien, whence
Manu'brienkoppel, draw-stop coupler.
Marcan'do (It, "marking".) ) with dis-
Marca'to (It., " marked ".) \ tinctness
and emphasis... Marcatis'simo, with
very marked emphasis.
March. (Ger. Marsch; Fr. marche ;
It mar*da) A composition of strongly
marked rhythm, suitable for timing the
steps of a body of persons proceeding
at a walking pace, and thus bearing a
processional character akin to that of
the Polonaise, Entre'e, etc. The march-
form of the earlier operas and clavier-
pieces also resembles that of the old
dances, consisting of 2 reprises of 8,
(12), or 16 measures. The modern
march-form is further developed ; it is
in 4-4 time, with reprises of 4, 8, or 16
measures, and is followed by a Trio
(usually in the dominant or subdom-
inant key and of a more melodious
character), after which the march is
repeated, often with amplifications.
The ordinary Parade March (Ger.
Para'dtmarsch ; Fr. Pas ordinaire) has
about 75 steps to the minute ; the Quick-
step (Ger. Geschwind'marsch; Fr, Pas
redoubti), about 108 ; while fora Charge
(Gen Sturm' mar sch ; Fr. P as & charge)
some 1 20 steps per minute are reckoned.
. .Besides these military marches of a
bright and martial character, Funeral
or Dead Marches are composed, slower
in movement and more solemn in effect,
andsometimessymphonicallydeveloped.
Marche (Fr.) I, A march. 2. Pro-
gression . . .Marcher, to progress*.
Mar^cia (It.) A march ; alia m. t in
march-style.
Mark. (Often equiv. to sign.) Cadence-
mark, the vertical line separating the
words of a chant, dividing those sung
to the reciting-note from those in the
cadence... Harmonic mark, see Har-
monic 2, b., .Metronomic mark^ see
Metronome. . .Mark of expression^ see
Expression-mark. . . Tempo-mark, see
that word.
Markiert' (Ger.), MarquS (Fr.) Marked,
accented; marcato.
Marseillaise. The French revolution-
ary hymn, the poem of which was
written and set to music during the
night of April 24, 1792, by Rouget de
Lisle, Captain of Engineers, at Strass-
burg ; first named by its author * ' Chant
de guerre de Tarmee du Rhin " ; but,
soon after its introduction in Paris by
the soldiers of Marseilles, it became
universally known as "La M." f or
"HymnedesMarseillais''.
Marteau (Fr.) i. Hammer (of pfte.-
action). 2. Tuning-hammer.
Martel6(Fr.), Martella'to (It)" Ham-
mered"; a direction in music forbow-
instr.s, indicating that the notes so
marked are to be played with a sharp
and decided stroke (usual sign j^) ; in
piano-music, that the keys are to be
struck with a heavy* inelastic pkmge^of
the finger, or (in octave-playing) with
the arm-staccato.,, Martellata notes
are generally mtzso staccato, .anjl often
take the sign > or jr/*.
Martellement (Fr.) i. In harp-playing,
calls for the crush-note (acciaccatu*ra)
or redoubled stroke. 2. Comp. Graces.
Mar^ia'le (It.) Martial, warlike.
Maschera 7 ta (It.) Masquerade.
Maschi'nen (Ger., pL) See Pistons. . .
Maschi'ntnpaukcn> kettledrums pro-
MASK-MEDIUS.
vided with a mechanism for the rapid
adjustment of the pitch.
Mask, Masque. (Ger. Mas'kenspiel;
Fr. masque,) The mus. dramas called
masques, so -popular during the i6th
and I7th centuries, were spectacular
plays on an imposing scale and with
most elaborate appointments, the sub-
ject being generally of an allegorical
or mythological nature, and the music
both vocal and instrumental The
masque was the precursor of the opera,
but was distinguished from it by the
lack of monody.
Mass. (Lat. mt'/sa; It. mesfsa; Fr.
and Gen Mes'se.) " Mass " is derived
from missa, in the phrase ** Ite, missa
est [ecclesia] " (Depart, the congrega-
tion is dismissed), addressed, in the
R. C. Church, to persons in the congre-
gation not permitted to take part in the
communion service, the Mass itself
taking place during the consecration of
the elements. The divisions of the
musical mass are (i) the Kyrie ; (2)
the Gloria (incl. the Gratias agimus,
Qui tollis, Quoniam, Cum Sancto Spirk
tii) ; (3) the Credo (incl. the Et incar-
natus, Crucifixus, Et resurrexit); (4)
the Sanctus and Benedictus (with the
Hosanna) ; (5) the Agnus Dei (incl. the
Dona nobis). IJ-JJJS passed through
very various -$o^esXpo1n the simple
unison chant of Plain Song to the most
elaborate productions of late medieval
counterpoint, with a transition there-
after to the severity of the Palestrina
epoch, to the vocal masses in 8, 16, or
even 32 parts, and finally to the grand
mass with full chorus and orchestra
(missa soletn'nis)...High mass, one
celebrated on church festivals, accom-
panied with music and incense... Low
. mass, one without music. . .Missa breif-
is, short mass of Protestant churches,
incl. only the Kyrie and Gloria,
Ma'ssig (Ger.) Moderate(ly).
Mas'sima (It.) i. The maxim. 2. A
whole note. 3 (adj.) Augmented (of
intervals).
Master-chord. The dominant chord . . .
Master- fugue, fugaricercata. . . Master-
note, leading-note... Master singer, see
Meistersinger.
Masure, Masurek, Masurka. See
Mazurka.
Matelotte (Fr.) An old sailors' dance
resembling the hornpipe, in duple time.
Matins. The music sung at morning
prayer, the first of the canonifal hours.
Maul'tronmiel (Ger.) Jew's-harp.,,
Maul'trommelklamer, the melodicon.
Mas/im. (Lat. maxima,) See Notation,
3, Large.
MazurTca. A Polish national dance in
triple tune and moderate tempo, with a
variable accent on the third beat.
Me. For mi (Tonic Sol-fa).
Mean. Former name for an in'ner part
(as the tenor or alto), or an inner string
(of a viol).,. Mean clef, the <7-clef, as
used for noting the inner parts.
Mean^tone system. See Temperament.
Measurable music. Mensurable music.
Measure. I. (Ger. Takt; Fr. mesure;
It. misu'ra.) A metrical unit, simple or
compound, of fixed length (time-value)
and regular accentuation, forming the
smallest metrical subdivision of a piece
or movement ; visibly presented by the
group of notes or rests contained be-
tween two bars, and familiarly called
a "bar", (Comp. Time.) 2. Occa-
sional for tempo. 3. A dance having a
stately and measured movement. -
Measure-note, a note indicated by the
time-signature as an 'even divisor of
a measure ; J thus indicates that each
measure has 3 quarter-notes, and a
measure-note is then a quarter-note. . .
Measure-rest, see Rest.
M6canisme (Fr.) Technic or technique ;
mechanical skill. (It. meccanismo.)
Mecha'nik (Ger.) i. A mechanism or
mechanical apparatus, such as (a) the
pfte.-action ; (6) the machine-head of a
guitar, zither, etc. 2. In pfte.-playing,
(a) technique ; (d) specifically, the mere
mechanical action of the fingers and
hand, as the lift and dawn-stroke of
finger or wrist, the passing-under of
the thumb, etc. ; often carelessly trans-
lated by mechanism.
Mechanism. See Mechanik 2 b.
Mede'simo (It. ) The same.
Me'dial. Proper to the Mediant.
Me'diant. i. (Ger. and It. Median' te;
Fr. mtdiante.) The third degree of a
scale. -2. In medieval music, one of
the 3 pivotal tones of a mode, situated
as nearly as possible midway between
the Final and Dominant, and ranking
next in importance to the latter.
Me'dius, See Accentus ecclesiastic**
MEHR-MELOPIANO.
119
Mehr (Ger.) T&m...Mehr'chdrig, for
several (4-part) choruses. , ,Mehr^fach,
manifold ; mehr* f aches Interval?, com-
pound interval ; mehr'f acker Ka'non,
a canon having more than 2 themes ;
mehr'facher Kon'trapunkt, counter-
point written in more than 2 invertible
parts ; mehr'fache Stim'me (organ), a
compound s>\.o$...Mehr f $timmig, in
several parts ; polyphonic.. .Mehrstim-
migkeit durck Brc'chung, apparent
polyphony obtained (especially on the
pfte.; by employing broken chords.
Jflei'ster (Ger.) Master... Mei'sterfuge,
fuga ricerca,'ta,...Mei'sterstnger (or
-sanger), in Germany, the successors of
tne Min'nesanger (Troubadours), but,
unlike the latter, chiefly artisans, who
formed guilds in various cities for the
cultivation and propagation of their art,
the stringent rules for which were con-
tained in the Tabulator'. Their poems
were founded for the 'greater part on
biblical subjects ; the musical treatment
was apt to be dry and prosaical. They
originated about the 1 4th century in
Mainz, reached their zenith in the 1 5th
and 1 6th centuries (notably under Hans
Sachs of Nuremberg), and thereafter
decayed gradually, the last society be-
coming extinct in 1839 (Ulm).
Melancoli'a (It), Melancholic (Fr.)
See Matinconia*
Melange (Fr.) A medley, pot-pourri.
Melis'ma (Gk.) I. A melodic ornament,
fioritura, grace ; colorature. 2. A Ca-
denza i...Melismat'ic, ornamented,
embellished ; said of vocal or instru-
mental music abounding in ornaments ;
also, specifically, melisntatic song, that
in which more than one tone is sung to
a syllable ; opp. to syllabic song.
Melo'deon. The original American
organs were called melodeons or melo-
diums. (See jfteed-organ.)
Melo'dia, (Organ.) A variety of stopped
diapason nearly resembling the Clara-
bella.
Melodic. Pertaining to the progression
of single tones ; hence, vocal, as a melod-*
ic interval.
Melo'dica. A sinall variety of pipe-
organ inv. in 1770 by Joh. Andr. Stein
of Augsburg, having a tone like the
fldte a dec, and a compass of but 3^
octaves. It was used ordinarily to play
the melody to a harpsichord- or pfte.-
accompaniment ; hence the name. An
excellent crescendo and decrescendo
were obtainable by varying the finger-
pressure on the keys.
Melo'dico (It.) Equiv. to Cantando.
Melo'dicon. A keyboard instr. inv. by
Peter Rieffelsen of Copenhagen, in
1800, in which the tones were produced
by tuning-forks.
Melo'dik (Ger.) Science or theory of
melody.
Melo'diograph. See Melograph.
Melo'dion. A keyboard instr. inv. by
J. C. Dietz, of Emmerich, in which the
tones were produced by vertical steel
bars chromatically graduated ; these
bars being pressed by the digitals
against a rotating cylinder. Forte was
obtained by a quicker, piano by a slow-
er, rotation. Compass, 5^-6 octaves.
Melo/diiun. i. Melodeon. 2. (Ger.)
Alexandre organ.
Melodrama, i. Originally, a musical
drama. 2. In modern usage, (a) stage-
declamation with a mus. accomp. ; (b) a
form of the drama in which the music
plays a very subordinate part, and the
plot is more or less romantic and sen-
sational.
Mel'ody. (Ger. Melodic*; Fr. melodies
It. melodi'a.) I. The rational progres-
sion of single tones ; contrasted with
Harmony, the rational combination of
several tones. 2. The leading part in
a movement, usually the soprano. 3.
An air or tune.
Mel'ograph. Name of various mechan-
ical devices for recording /the music
played on a pfte. One of the latest and
most successful is the electric m. or
Phonautograph (inv. by Fenby , in Eng-
land), in , which the pressure on the
digitals closes an electric circuit, effect-
ing a record on paper as in the Morse
system of telegraphy. A cardboard
stencil forming an exact copy of the
% record can be made to reproduce the
music when placed in the Melatrope, a
mechanical attachment to a pfte. by
means of which the digitals are depress-
ed as if by the player's fingers.
Mel'ophone. A variety of Concertina.
Melopian'o. A pfte. inv. by Caldera
of Turin, in 1870, in which the tonp is
sustained by rapidly repeated blows of
small hammers attached to a bar pass-
ing, over and at right angles, to the
strings, the bar being kept in vibration
120
MELOPLASTE-METER.
by means of a treadle worked by the
player. Crescendo and df crescendo effects
are producible at will, and the tone is 02
delightful quality.
MeToplaste. A simplified method for
learning the rudiments of music, inv
by Pierre Galin about 1818. Instead of
teaching the notes, clefs, etc., at first,
he took merely the 5 lines of the staff,
singing familiar airs to the syllables do,
re, mi, etc., at the same tune showing
with a pointer the position on the staf
of the notes sung. For teaching rhyth-
mical relations he used a double metro-
nome marking both measures and beats,
Me1os(Gk.) "Song". The name be-
stowed by Wagner on the style of reci-
tative exemplified in his later mus
dramas. (See Recitative.)
MeTotrope, See art. Melograph.
Meme (Fr.) The same.. .A la mime,
1'istesso tempo.
Men, Abbr. of Meno.
M6nestrel (Fr.) Minstrel (q. v.)
MfciStrier^triere (Fr.) Originally,
player on any instrument, especially for
dancing; now, a vagabond fiddler at
fairs and in low places of entertain-
ment, or a village musician.
Me'no (It, abbr. mm.) Less, not so.
When Meno occurs alone as a tempo-
mark, mosso is implied* . .Meno mosso,
" less moved,'* i. e., slower.
Mcnsur 7 (Ger,) i. Mensu'ra, i. e. the
. time of a movement (mensurable music) .
2. ^Scale (of organ-pipes). 3, In
other instr.s, the various measurements
requisite for their true intonation (as
length' of tube, distance between finger-
holes, thickness of strings, etc) ;
Mcnsural'gesangj-musik (Ger.) Men-
surable music. (See Notation, 3.)
Ifen'te (It) Mind, memory; alia m.,
improvised, extempore.
Meoiet(Fr.), Menuett' (Ger.) Minuet
Me'rula (Lat, ."blackbird, ousel v .)
Same as Vo'gelgesang.
Mescolan'za (It) A medley.
Mes'otonic. Mean-tone.
Mes'sa -(It), Mes'se (Ger. and Fn)
Mass.
Mes'sa di vo'ce (It.) The attack of a
nfctained vocal Itt&yianissimo, with a
swell to fortissimo, and slow decrease
to pianissimo again ; thus :
The attack and increase was formerly
called forma're il tuono ; the sustaining
of the ff tone, ferma're il tuono ; and
the decrease and close, fini're il tuono.
Messan'za (It) A quodlibet
Me'sto (It) Pensive, melancholy*..
Mestamen'te, plaintively, grievingly.
(Also con mesti'zia.)
Mesure (Fr.) Measure ; a measure ; a
la m., in time (i. e. a tempo, a battu'ta).
. .Mesure*, measured. (See Time,)
Metallo (It, "metal".) A ringing,
"metallic " quality of voice.
Metal'lophone. A pfte. in which
graduated steel bars take the place of
strings. 2. An instr. like the xylo-
phone, but with bars of metal instead
of wood.
Meter, Metre, i. Metre in music is
the symmetrical grouping of musical
rhythms ; a disposition of musical mem-
bers akin to the arrangement of the
poetic strophe. It differs from Form
in having to do merely with- the rhyth-
mical groupings within compositions ;
from Rhythm, in treating of the sym-
metrical arrangement of the smaller
tone-groups, the articulation of which
produces the rhythm or time. These
definitions are, however, not universally*
binding, metre and rhythm being used
sometimes as interchangeable terms,
and sometimes with significations ex-
actly the reverse of those just given.
In metre the smallest metrical 'element
(unit of measure) is the Measure; the
combination of 2 measures (either simple
or compound) produces the Section; of
2 sections, the Phrase ; of 2 phrases,
the Period (of 8 measures), which may
be extended to 12 or 1 6 measures ; be-
yond the period of 16 measures the
metrical divisions seldom go, i. e. they
are not followed by the ear as metrical,
but as thematic divisions (see Form).
2. The metre of English hymns is
classified, according to the feet used, as
iambic, trochaic, or dactylic; in the
syllabic schemes below, the figures in-
dicate the number of syllables in each
line. Variants are not infrequent in
modem hymnology.
A. fettto metres: Common metre (C. M.).
8 V ^ tffPiyS 1 ? (L ,- M -> 8 8 8 *; Sho
metre (S. M.), 6686; these have regularly 4
lines to each stanza; when doubled to 8 lines
they are called Common metre double (C M
D.), Long metre double (L. M. D.) f and Short
metre double (S, M. D.). They miv also fcavt
6 lines in each stanza, and, are, then named
122
MIMODRAMA MINUET.
that of the 22nd Regt., New York, has
66, namely:
a piccolos i contraffagotto
2 flutes i E(> cornetto
2 oboes t 2 ist Bh- cornets
i Aj> piccolo clarinet 2 and ' "
. 3 ]$. clarinets 2 trumpets
8 jst Bb- clarinets 2 flugeihoras
4 and " 4 French horns
4 3rd " u 2 EK alto horns
i alto " a Bfr tenor horns
i bass u ' 2 euphoniums
i sopr. saxophone 3 trombones
- ilto S bombardons
i tenor u 3 drums
1 bass " i pair cymbals
2 bassoons
In France, in accordance with the
1 official order promulgated Nov. 17,
1892, the regular infantry bands com-
prise the following instruments :
a fiutes m 3 trombones
2 small clarinets 2 alto saxhorns
8 large " 3 alto saxotrombas
2 oboes 5 bass saxhorns
i sopr. saxophone i contrabass saxh.
i alto ll i " tuba
i baryt, u j shallow drum
1 tenor " z bass drum
2 comets i pair cymbals
2 trumpets
or 40 in all (14 wood-wind, 23 brass, 3
percussives). The principal innova-
tions on the former standard (estab-
lished by imperial decree of March 26,
1860) are (i) disuse of wooden flutes,
for which metal flutes are substituted ;
(2) suppression of 4 saxophones, and
substitution of 4 more clarinets; (3)
suppression of 2 barytone saxhorns, for
which 2 bass saxhorns are substituted.
Mimodranuu (Fr. mimodramt^ A pan-
tomimic dramatic performance, often
accomp. by music.
Minacce'vole (It) In a menacing or
threatening manner. (Also minacce-uol-
men'te } minacdan'do^ minacdo'so, min-
acciosamen'te.)
Mineur (Fr.) Minor.
Min'im* (Lat mi'nima; It, mi'nima or
- bian'ca; Fr. minime <x blanche; Ger.
hafbeWte.) i. A half-note. 2. See
Notation, 3.. .Minim-rest, a half-rest.
_ i,-aauger (Ger,, sing, and
pi.) One of the German troubadours,
or lyric poets and singers of the I2th
and i sth centuries, who were exclusively
of noble lineage; distinguished from
their Southern contemporaries by their
chaster conception of -love (Min'ne,
- Fratftndienst\ They accompanied
their songs (Min'negesang, written
Chiefly in ffc Swabta "flalect) on 'the
viol or arpamtta, and their rivalry cul-
minated in grand poetical contests, such
as the one immortalized by Wagner in
"Tannhauser." Their art originated
in Austria, spreading thence to . the
Rhine, Thuringia, and Saxony ; in the
hands of their successors, the Mei'ster-
singer, it degenerated past recognition,
Mi x nor. (Ger. klein, moll; Fr. mineurj
It. mino're.) Lesser ; smaller (comp.
Interval, Major \ Phone). . .Minor tone^
the lesser whole tone 10:9,
Minstrel The minstrels of the middle
ages were professional musicians who ,
sang or declaimed poems, often of their
own composition, to a simple instru-
mental accomp. They were followers
of the nobility in court and camp. The
French mtnestr&ls of the 8th century and
later were the musical attendants of the
trowulres and troubadours, having to
execute practically the musical concep-
tions of their noble masters. Thus they
occupied from the outset a subordinate
position ; their art slowly degenerated
in England, whither they were trans-
planted at the Norman Conquest, until
they were classed by statute (1597) with
u rogues, vagabonds, and sturdy beg-
gars"; in France their guilds were
maintained down to the Revolution. In
England they coalesced with the Anglo*
Saxon "gleemen". Their favorite
instr. was the rebec. . . Negro Minstrels \
singers and actors portraying (originally)
scenes from Southern plantation-life.
The chief performers of the troupe are
the middle-man or interlocutor and the
two end-men (so called from their re-
spective positions in the semi-circle of
performers on the stage); the former
leads the talk and gives the cues, while
the latter preside over the tambourine
and " bones", and crack the jokes.
Minuet'. (It. minuet* to; Fr. menuet; Ger.
Menuetf^ One of the earlier French
dance-forms* supposed to have orig-
inated in Poitou ; it dates as an art-
product from about Lully's period (end
of 17th century), and, as such^ prop-
erly consists of 2 minuets, or a double
minuet with contrasted sections of 16
measures each, the second forming the
Trio, after which the first 'is repeated.
It is in. triple time, and has a slow,,
stately movement, eschewing a.11 prn4-
mentation. It frequently occurs jn tfie
. Suite, Sonata, and Symphony ; Bee%h
' ven was the first' to introduce hv'itfi
MIRACLE-MODE.
123
stead, in the 2 latter, the livelier and
freer Scherzo ; in the Suite it figures,
by way of contrast, between the Sara-
bandeand Gigue.
Miracle, Miracle-play. See Mystery.
Misceria (Lat.) A mixture-stop.
Mise de voix (Fr.) Messa di voce.
Misere're (Lat.) The first word of the
Psalm LI (in the Vulgate, L), which
begins: " Miserere mei, Domine
(Pity me, O Lord) ; hence, the name of
this Psalm, or of a musical setting of it,
sung in the Catholic Churches as part
of the burial service, at the Communion
of the Sick, and the like. During
Holy Week it is performed with pecu-
liar solemnity in the Sistine Chapel at
Rome.
Mis'sa (Lat.) The Mass. . . M. brei/is,
short rnass...^/. canta'ta, chanted
mass. . ,M.pro defunStis, see Requiem.
. .M. sohmfntSy wsolen'nis, high mass.
Mis'sai. (Lat. missa'le.) The R. C.
Mass-book, containing the liturgical
forms necessary for the celebration of
mass the year round.
Miss'klang (Ger.) Discord, cacophony.
Misterio'so (It.) Mysterious... Miste-
riosamen'te, mysteriously.
Mistichan'za"(It.) A quodlibet
Misu'ra (It) < A measure. . .Misura'to,
measured, in exact time.
Mit(Ger.) With.
MitTdang (Ger.) Resonance *..Mif-
klingende Tone, overtones.
Mit'telkadenz (Ger.) Semi-cadence.
.Miftelstimme, an inner part ot voice.
Mixed cadence. See Cadence. . .Mixed
AUTHENTIC MODES.
Mode I (Do'rian).
canon, one in which the successive parts
enter at different intervals. ..Mixed
chorus, quartet, voices, vocal music
combining male and female voices.
Mixolyd'ian. See Modi.
Mixture. (Ger. Mixtur*; Fr. fourni-
ture; It. ripie'no, accoSdo.) A com-
pound auxiliary flue-stop with from 3 to
6 ranks of pipes sounding as many har-
monics of any tone represented by a
given digital. These harmonics are
generally octaves and fifths of the fun-
damental tone; sometimes a third, or
even a seventh, is added; they are higher
in comparative pitch for low tones than
for high ones, (see Break 3) ; e. g. for
the tone C the 3-rank mixture would
usually contain c l -g l -c* ; and for c l , c*-
^Wfrot^-f 8 -^ 4 ). In some old German
organs mixtures are found having from
8 up to 24(1) ranks, there being, of
course, several pipes to each harmonic.
Mixtures are used to reinforce and
"brighten" the upper partials of the
heavier foundation-stops.
Mobile (It) With a facile movement,
readily responsive to emotion or impulse.
Mode. i. For Greek nwdes, see Greek
music. 2. (Lat. mo'dus.) The medie-
val church-modes were octave-scales,
like the Greek modes, and also borrowed
their names (see below) from the latter;
but they, and the fundamental diatonic
scale A-a, were conceived as ascending
scales,* a distinct departure from ancient
theory. They were called ^wr^-modes
because each chant in the Gregorian
antiphony was kept strictly within the
compass of some one of these octave-
scales, without chromatic change save
that from fly to &* or vice-versa.
PLAGAL MODES.
Mode II (Hypodo'rian).
r r i '
^
^
Modelll (Phrygian).
p. ,. r r p.^U^fefe
m i 1
I*]*-
Mode V (Lyd'ian).
K . . ,. r f f *
V J [- 1 i i
Mode VI (Hypolyd'ian).
^ie
?==
\^ ' ' ' '
i '
Mode VII (Mixolyd'ian).
Mode VIII (Hypomixolyd'ian).
, " r r r =
124
MODE HELL^NIQUE MODERATO.
AUTHENTIC MODES,
Mode IX
PLAGAL MODES.
Mode X (Hyposeolian).
Mode XI (Lo'crian).
Mode XII (Hypolo'crian).
==!
EE
?^&
^
Mode XIII [or XI}(Io'nian).
Mode XIV [or XII] (Hypoio'nian).
S
S
In the authentic modes the Final
(what we should call the key-note) is the
lowest tone ; in the plagal modes, a
fourth above the lowest ; it is marked
by a whole note in the Table. Each
plagal is derived from a parallel authen-
tic; St. Ambrose is supposed to have
established the first 4 authentic modes,
to which St Gregory added the corre-
sponding plagals ; these 8 were exclu-
sively employed in serious composition
down to the i6th century, despite the
kck of any scale similar to the (C-)
Greek Names.
Hypophrygian
Hypdydian
Dorian
Phrygian
Octave-scales.
t ' M ' ,
g a b c 1 d 1 e 1 f 1 g 1
I* ii n
major and (A-) minor scales of modern
music ; then, however, the last 4 modes
were added. The Locrian (B-b) and
Hypolocrian (F-f) were rejected as
useless, neither fulfilling the law that
each authentic mode should be divisible
into a perfect fifth plus a perfect fourth,
and each plagal mode into a fourth plus
a fifth. Both the names, and the pre-
fix hypo-, are used in a sense different
from that of the original Greek modes
the medieval theorists having misinter-
preted the Greek nomenclature.
Final Medieval Names.
Mixolydian (Mode VII, 4th authentic)
f g a b c 1 d 1 e 1 f l Lydian (Mode V, 3rd authentic)
e f g a b c 1 d 1 e 1 Phrygian (Mode III, and authentic)
d e f j? a b c 1 'd 1 Dorian (Mode I, ist authentic)
"d e f g a b c* dn [Hypomixolydian (Mode VIII, 4 th plagal)]
Mixolydian
c d e f g a b c 1 Hypolydian (Mode VI, 3 rd plagal)
B c d e f g a b ( Hypophrygian (Mode IV, a nd plagal)
Hypodorian (or -ffiolian) ABcdefga Hypodorian (Mode II, ist plagal)
The gradual development of monodic,
harmonic, and chromatic music, the
wtaion of the leading-note, the ac-
ceptance of the third as a consonance,
and the recognition of the" predominance
of the tonic triad, with the ' modem
system of transposing, tempered scales
in the major and minor modes thence
resulting, led to the gradual disuse of
the church-modes*
Mode hellenique (Fr.; also troistimt
mode). The inverted major scale, be-
ginning on the 3rd degree :
e 1 d 1 cM) a g fe,
so termed byBlainville (1711-69), this
.being the ancient Dorian mode 1 (see
Greek music},
Moderate (It.; superl, moderatis'simo.)
I (noun). Moderate ; Le, at a moderate
rate of speed, or tempo. 2 (adverb).
(Also modtratamen'te). Moderately j
as allegro moderate^ moderately fast.
MODERNO MORDENT.
1*5
Moder'ao,-a (It) Modern ; alia moder-
na, in modern style.
Modification. Same as Temperament.
Mo'do (It.) Mode ; style.
Mod'ulate. (Ger. moduliiren; Fr. mo-
duler; It. modula're.) To pass from one
key or mode into another ; to effect a
change of tonality. . . Modulation. (Ger.
and Fr. Modulation'; Fr. also transi-
tion; It. modulaziqfne) Passage from
one key to another ; change of tonality.
A modulation may be either final or
transient ; it is final when the new
tonic is permanently adhered to, or still
another follows ; transient (transitory,
passing) , when the original tonic is
speedily reaffirmed by a cadence...
Chromatic modulation, one effected by
the use of chromatic intervals ; diatonic
m., one effected by the aid of diatonic
intervals ; enharmonic m,, one effected
through employing enharmonic changes
to alter the significance of tones or
intervals.
Mod'ulator. See Tonic Sol-fa.
Mo'dus(Lat) Mode.
Moll (Ger.) Minor. . .Moll'akkord, mi-
nor <hoi:d....Mollfdreiklang, minor
triad. . .Moll'tonart, minor key. . .
Moll'tonleiter, minor scale ; etc. , etc.
MoI'le (Lat., " soft".) A term probably
first used in the loth century to desig-
nate the B rotun'dum (B molle,=^\ in
opposition to the B quadra' turn (B du f -
rum, fl, the modern Bt|). Later it was
applied tothehexachord/ d, in which
b\) was substituted for q ; and, finally,
to the minor key and triad (with flat
third).
Mollemen'te (It.) Softly, gently.
Mol1is(Lat> Seelfe/&,
Moloss(e). (Lat. molossus.) A metrical
foot of 3 long syllables ( ).
Mol'to,-a (It) Much, very ; as motto
adagio, very slowly ; molto allegro, ^try
fast. . .Di molto, exceedingly, extremely.
Momen'tulum (Lat.) A i6th-rest
Momentum (Lat.) An 8th-rest.
Mon'ochord. (Fr. monocorde; It. mono-
cor* do.) , I. A very ancient instr, for
the precise mathematical determination
of the intervals, consisting of a single
string stretched over a soundboard and
provided with a bridge sliding on a
graduated scale, by means of which
any desired division of the string could
be isolated, and intervals of true pitch
obtained. An instr. of the same name,
but furnished with several strings for
the purpose of obtaining harmonic
effects, was the precursor of the clavi-
chord. 2. Thetromba marina. 3. A
clavichord 4. (Ger., recent) A kind of
bow-zither, having one string stretched
over a fretted fingerboard attached
lengthwise to the top of an oblong re-
sonance-box.
Mon'ody. (Ger. and Fr. Monod^; It.
monodi'a) A style of composition
(monod'ic or monophon'ic) in which one
part, the melody, predominates over the
rest, they serving as a support or ac-
comp. to it. It took its rise in Italy
about 1600, in the form of a vocal solo
with instrumental accomp., the latter
being at first a mere figured bass exe-
cuted on the harpsichord, theorbo, etc.
Its novelty lay, not in its newness, but
in its employment and recognition by
artists. It developed info the opera,
cantata, and oratorio on the one hand,
and, on the other, into all those forms
of instrumental music in .which the ele-
ment of accompanied melody is found,
as the suite, symphony, etc. (Also
Homophony^ Monophony.)
Monoph'onous. Capable of producing
but one tone at a time ; opp. to poly-
fhonous. . .MonQph'cny, see Monody.
Mon'otone. i. A single unaccompanied
and unvaried tone. 2. Recitation (in-
toning, chanting) in such a tone.
Monter (Fr.) r. To ascend; montant, as-
cending. 2. To raise the pitch of. 3.
To put strings on an instr.; also, to
put an instr. together, to set it up.
Montre (Fr.) In the organ, the. dia-
pason ; so called because " shown" or
set up in the organ-front, away from
the soundboard.
Moralities. (Ger. Moralitaftm; Fr.
moralit^ A later form of the miracle-
plays or mysteries. -
Morceau (Fr.) A piece, composition J
morceau de genre, characteristic piece.
Mordant (Fr.) Comp. Graces.
Mordent. (Ger. Mor*dent, Bei'sser;
Fr. fine/; It. mordtn'ie.) A grace con-
sisting of the single rapid -
alternation of a principal r
note with an auxiliary a|g
minor seqond below, thus:
126
MORENDO-MOVEMENT.
played :
<#/has a double or triple alternation, e.g.
, 6.
played:
In the Inverted Mordent, the prin-
cipal note alternates with the higher
auxiliary; its sign lacks the cross-stroke,
written :
played :
(moderate)
Moren'do (It) Dying away, growing
fainter and fainter (v. Tempo-marks).
Mormoran'do (It.) Murmuring, mur-
murous, in a very gentle, subdued tone.
Also mormore'vole, mormoro'so.
Morris-dance. (Also morrice-dance,
Moresque^ Morisco, etc.) A sort of
costume-dance, apparently of Moorish
origin, in 4-4 time and of a boisterous
character ; now obsolete. Also, a kind
of country-dance still performed in
Yorkshire, England.
Mos'sp (It., "moved".) Equivalent to
"rapid" in the phrases meno^ mosso, less
rapid, pik mosso, more rapid, and/0rt?
mosso, somewhat rapid (e. g. Allegretto
poco mosso, a rather lively allegretto,
nearly allegro).
Mo'stra(It) A direct.
Motet/. (Gen Mottfte; Fr. motet; It.
mottet'to) A sacred vocal composition
in contrapuntal style, without instru-
mental accomp. In former times the a
cappella style was not always strictly
adhered to. The motet resembles the
anthem in having a biblical prose text,
but differs from it in being polyphonic ;
compositions in anthem-style are, how-
ever, sometimes called motets, The
Latin motStw is a term of various and
sometimes obscure signification.
Motif (Fr.) A motive.
Motion, i. The progression or lead-
ing of a. single part or melody ; it is
conjunct when progressing by steps,
disjunct when progressing by skips.
2. The progression of one part con-
in relation to that of another :,
contrary or opposite motion is that in
which one part ascends while the other
descends ; parallel* motion, that in
which both parts ascend or descend by
the same interval ; oblique motion , that
in which one part is held - while the
other ascends or descends ; similar*
motion, that in which both parts ascend
or descend together by dissimilar inter-
vals ; mixed motion , that in which 2 or
more of the above varieties occur at
once Between several parts.
* N.B. The above fine distinction between
$arallelm& similar motion is very often not
observed, the term parallel motion being used
indiscriminately for both.
Mo'tive [sometimes pron.
(Ger. Motii/; Fr. motif; It. moti'vo.)
I. A short phrase or figure (rhythmic,
melodic, or harmonic) used in develop-
ment or imitation. 2. A theme or sub-
ject (see Leading-motive). 3. Some-
times used for Measure, as the rudi-
mentary element of the Period. Mea-
sure-motive, one whose accent coincides
with the measure-accent.
Mo'to (It.) I, Motion. . .M, contra'rio,
contrary motion.. .^ mi'sto, mixed
motion. . .M. obbli'quo, oblique mo-
tion. . iM.perpStuo^ perpetual motion.
. .M. ret' to, similar motion. 2. Move-
ment, tempo. . . Con moto, with an ani-
mated and energetic movement. . . Moto
precedence, at the former tempo.
Motteggian'do (It,) Bantering, face-
tious.
Mottet'to (It.) Motet.
Mo'tus (Lat.) Motion. , .M. contra' rim,
contrary motion. . .M.obli'quus, oblique
motion. . .M. recftus, similar motion.
Mouth. The opening on the front side
of an organ-pipe... Mouth-harmonica,
a set of graduated metal reeds mounted
in a narrow frame, blown by the
mouth, and producing different tones
on expiration and inspiration. . .Mouth-
organ, see Pan's-pipes. . .Mouthpiece
(Ger. Mund'stiick; Fr. embouchure;
It. imboccatu'ra), that part of a wind-
instr. which a player places upon or be-
tween his lips.
Mouvement (Fr.) Movement, tempo.
. .MouvementL A piece is said to' be
Hen mouvementt when its rhythmical
structure is elegant and symmetrical 1 .
Movement, i. (Ger. BewJgung; Fr.
mouvement; It moviwen'to, mo'io, tem f -
4o.} Tempo, rate of speed. 2. (Ger.
MUANCES MUTHIG.
Satz; Fr. fartie; It. tempo.) A prin
cipal- and "usually separate division or
section of a composition, containing
themes and a development peculiar to
itself.
Muances (Fr.) See Mutation 2.
Mund (Gen) Mouth. ..Mund'harnio-
nika , mouth-harmonica . . . Mund' loch,
mouth (of an organ-pipe; usually Auf*
schnitt).. .Mund'sttick) mouthpiece.
Mune'ira (Span.) A Galician dance of
moderate tempo and in 2-4 time, with
an auftakt of a quarter-note, and the
strong beat marked by the castanet-
rhythm.
Mun'ter (Ger.) Lively, animated, gay.
(Also adverb?)
Murky. A murky-bass is one progress-
ing in broken octaves ; a harpsichord-
piece with such a bass was called a
murky.
Muse. The mouthpiece or wind-pipe of
the bagpipe.
Musette (Fr.) I. A small and primitive
kind of oboe. 2. A variety of bag-
pipe in which the wind is supplied by a
bellows. 3. A short piece of music
imitating in style that played on this
kind of bagpipe, i. e. of a soft and gen-
tle character and with a drone-bass ;
hence, the dance-tunes of the same
style and name. 4 A reed-stop in
the organ.
Mu'sica (Lat. and It.) Music. . .M. da
ca'mera, chamber-music. ..M.da ckie'-
sa, church-music. . .M. da tea'tro, the-
' atre (theatrical) music... M. di gatfti,
charivari (see KatzenmusiK).
Musical box, Music-box. The so-
called Swiss music-box consists of a
metallic cylinder or barrel studded with
small pins or pegs, and caused to re-
volve by clockwork. In revolving, the
pins catch and twang a comb-like rpw
of steel teeth arranged in a graduated
scale, each tooth producing a tone of
very accurate pitch. In the larger instr.s
the barrel may be shifted so as to play
several tunes, or is made exchangeable
for others. For the newer music-boxes,
compare Symphonion, Libellion,
Musician. (Ger. Mu'siker; Fr. musi-
den; It mufsico, musid'sta!) One
who practises music in any of its
branches as a profession.
Music-pen, i. A soft-nibbed, broad-
pointed pen for writing notes, etc. 2.
A 5-pointed pen for drawing the 5 lines
of the staff on paper.
Music-recorder. See Melograph, Ph*
nograph^ Phonautograph.
Music-wire. ' Steel wire for the strings
of mus. instr.s.
Musik' [-zeek'] (Ger.) Music. . .Miui#-
bande, see ande. tt Musik' diktat, see
Dict/e m usicak . . . Musitfdirektor, a
conductor. . .Musik 'fest, mus. festival.
. . Musik' meister, conductor of a mili-
tary band.
Miisika'lien (Ger.) Music (i. e. musical
compositions). [A trade term.]
Mnsikant' (Ger.) A vagabond or bung-
ling musician.
Mu'siker, Mu'sikus (Ger.) A musician.
Musiquette(Fr-) ^ Little piece of music;
or (collectively) light music.
Mu'ta(It) "Change!" A direction in
orchestral scores indicating a change of
crook or instr., or in the tuning of an
instr., necessitated by a change of key.
Mutation, i. (Ger. Mutie'rung; Fr.
mue; It mutazio'ne^ The change of
the male voice at puberty. 2. (Ger.
Mutation* '; Fr. pi. mutations, muances;
It. mutazio'ne.) In medieval solmisa-
tion, the change or passage from one
hexachord to another, -with the conse-
quent change of syllable (comp. Solmi-
satiori). 3. In violin-playing, "shift-
ing."
Mutation-stop. In the organ, any stop,
except a mixture, whose pipes produce
tones neither in unison norin octaves with
the foundation- (8-foot) stops; i. e., all
tierce and quint-stops, and their octaves.
Mnte. I. (Ger. Ddm'pfer; Fr. sour-
dine; It. sordi'no.) The mute for the
violin, etc., is a piece of brass or other
heavy material, having cleft projections
which permit of its firm adjustment on
the bridge without touching the strings ;
its weight deadens the resonance of the
sound-box. (Recently made ia the
form of a spring clip.) The direction
for putting on the mutes is "con sor-
dini"; for taking them off, "senza
sordini". 2. A pear-shaped, leather-
co.vered pad introduced into the bell of
the horn or trumpet to modify the tone.
Other forms of this mute are (for the
horn) a pasteboard cone with a hole at
the apex, and (for the trumpet) a cylin-
drical tube of wood pierced with holes.
Mu't(hjig (Ger.) Spirited, bold. (Also
adverb^
128
MUTIERUNG-NATURAL.
Mtttie'rung (Ger.) Mutation I.
Mysteries. (Ger. Myste'rien; Fr. mys-
tires.) Medieval scenic representations
of biblical events, arranged originally
by the monks, and generally accom-
panied by vocal, often by instrumental,
music. The Passion-plays (still sur-
viving at Oberammergau in Bavaria)
are as old as the yth or 8th century ; the
Moralities, a peculiar form of the
Mysteries, in which abstract concep-
tions were personified, originated about
the 13th century. The Mysteries were
the precursors of the Oratorio*
N.
Nacaire (Ft.) A former kind of kettle-
drum.
Nac'cara, Nac'chera (It) i. See^Mz-
eaire. 2. (Also Gnatfcare; pl.) Cas-
tanets.
Nach (Ger.) After; according to...
Nach'ahmung, imitation. . .Nach Belief
ben, ad libitum, ..Nach'druck, empha-
sis ; nack'drucklich (or mitNachdruck),
with emphasis, emphatically... Nactf-
lassend, slackening (in tempo) . . .Nach'-
Idssig, careless, negligent (also adverb).
..Nachfruf) a farewell, leave-taking.
. .Nactfsatx, after-phrase, second phrase
or theme, contrasting with Vor'dersatz.
Nactfschlag, (a) the unaccented appog-
giatura ; () "after-beat " of a trill (also
Nach* schleife)... Nach' spiel, a post-
lude. . .Nach'tanz, see Saltarello 2. . .
Nach und nach', step by step, gradu-
ally.
Nacht (Ger.) Night. . .Nachfhorn,
Nach? sc hall, a flue-stop in the organ,
having covered pipes of 2, 4, or 8-foot
pitch, and resembling in tone the
QuintatBtt or the HoMfioU. . .NacJiif-
hornbass, the same stop on the pedal.
. .Nacht' stuck, a nocturne,
Nania,
Na'gelgeige,-harmonika (Ger.) Nail-
fiddle.
Naif, Naive (Fr.), NaiV '(Ger.) Naive ;
unaffected, ingenuous, artless. . .Naive*
ment, naively. . .Naivety artlessness,
simplicity, etc,
Nailfiddle. (Ger. Na'gelgeige) 'Aninstr.
consisting of a soundboard in which are
inserted from 16 to 20 steel or brass
pins of graduated length, sounded by
means of a bow well smeared with
rosin ; the tone is like that of the har-
monica. Inv. by Johann Wilde of St,
Petersburg, toward the middle of the
l8th century,
Naked fifth (fourth). A fifth (fourth)
without an added third. (Also bare.)
Narran'te (It.) In narrative-style ; calls
for a very distinct declamatory enun-
ciation of the words sung.
Narrator. The personage who, in the
earlier passion-plays and oratorios,
sings the narrative portions of the text.
Nasard (Fr.; Span, nasai/do; Ger.
Nasat**) In the organ, the mutation-
stop commonly known as the Twelfth
(2$-foot pitch). The Gros-nasard
(Gros/nasat), is a quint-stop either on
pedal (iof-ft.) or manual (si-ft.) ; the
Petit nasard (Larigot) } is a double-
octave quint-stop (H-ft.) (Also na-
sarde, nassart> nasillard^ nazad.)
Nason flute. An organ-stop having
stopped pipes of mild, suave tone,
Natur 7 - (Ger.) Natural. . .NatuS/iorn,
a ^^^r(without valves).. .Natur'-
skala^ natural svt...Natwr'tQne (or
natur'luhe Tone), natural harmonic
tones, as of the horn, etc. ..Natur'-
tromfete^ a trumpet without valves.
Natural. I. , (Ger. Auflosungszeichen;
Fr. be'carre; It. bequa'dro?) The sign ft
(see Chromatic Signs). 2. A white
digital on the keyboard. . . Natural har~
monies, those produced on an open
string; opp, to artificial, which are
produced on a stopped string. . .Natu-
'ral hexachord, that beginning on C. . .
Natural horn, the French horn without
valves... Natural interval^ one found
between any 2 tones of a diatonic major
scale. , .Natural key, see Nat. scale. . .
Natural fitch^ that of any wind-instr.
when not overblown. . .Natural scale,
C-major, having neither sharps nor flats,
. .Natural tone> a tone producible, on a
wind-instr. with cupped mouthpiece, by
simply modifying the adjustment of the
lips and the force of the - air-current,
without using mechanical devices for
changing the length of the tube (such
as keys, valves, or the slide). Such
natural tones always belong to the series
of higher partials (comp. Acoustics).
These are the only tones which aninstr.
haying a tube of invariable length (like
the natural [French] horn) can yield ;
they are produced by the division of
, the vibrating air-column defined by
their tube into aliquot (equal) parts of
NATURALE-NINTH.
129
constantly decreasing lengtL A tube
of wide bore in proportion to its length
will yield most readily the low and me-
dium tones of the series, including the
fundamental ; a tube comparatively nar-
row, the medium and higher tones,
omitting the fundamental. Any metal
instr. yielding the fundamental tone (e.
g. the Tuba) is called a complete instr.
(Ger. Gand 'instrument) ; one incapable
of yielding it (e. g. the Trumpet), an
incomplete instr. (Ger. Halb'instru*
rnent). With a minimum air-pressure,
and the lips most relaxed, the funda-
mental tone of the tube is sounded.
Natura'le (It) Natural, unaffected...
Naturatmenfte, naturally, etc.
Natura'lis (Lat) Natural . . . Can'tus
naturali$> and hexachoSdum natura'le,
music, and the hexachord, embracing the
tones cdefga.
Naturalist' (Ger.) A natural or self-
taught singer ; one not trained accord-
ing to any vocal * ' method "or * * school "
.. Natural^ tisch, amateurish*
Naturel,-le (Fr.) Natural.
Neapolitan sixth. A chord of the sixth
on the sub-
- dommant m
minor, with
minor sixth:
Ne'ben- (Ger.) By-, accessory.. .
dominants, dominant of the dominant,
e. g, D in the key of C. . .Nt'bendrei-
klang, secondary triad, . .Nibtnge-
danke, accessory theme or idea. . .
benklang, accessory tone (either^ es-
sential, as harmonics, or unessential).
, .Nebennote, auxiliary note. . .Nefben-
septimenakkorde, secondary chords of
the 7th (all except the dominant) . . .
NJbenstimmet accompanying or ripieno
part. ..Ne'benwerk (on 2-manual or-
gan), choir-organ.
Neck. (Ger. ffabf Fr. manche; It.
ma'nico.) The elongated projection
from the body of an instr. of the viol or
lute family, bearing the fingerboard on
its upper side, and'ending with the head
or scroll.
Negligen'te (It.) Negligent, careless,
. .Negligtntemen'te, negligently,
Ne'gli, nei, nel, nell', nel'la, neHe,
nello (It.) In the.
Ne'nia. A funeral song 'or lament; a
dirge.
Neo-Germaa school. The disciples of
Schumann and Liszt; the romantic
school of composition^ and the "pro-
grammists '*.
Ne'te. See Lyre.
Nettamen'te (It,) Neatly, cleanly;
clearly, distinctly. . .Net? to, neat, clean,
clear.
Neu'deutsche Schule. See Nco-Gtr-
man.
Meu'ma, Neume. I. In Gregorian mu-
sic, a melisma. 2. In medieval mus.
notation, one of the characters used to
represent tones, inflections, and graces.
They were of different and fluctuating
' form and signification, at first with a
curious outward resemblance to modern
short-hand, later changing to coarse
and heavy strokes and flourishes. The
earlier neumes (8th to 1 3th century)
can hardly be successfully deciphered,
even with the aid of the letters (littsrcs
signijicativa) sometimes added, or of
the lines (inception of staff-notation)
employed, from the loth century on-
ward, to fix the pitch ; for they were
less an attempt at exact notation in the
modem sense, than an aid to memory,
a system of mnemonic signs. They are
important as being the first attempt to
exhibit the relative pitch of notes by
their relative height on the page ; they
gradually passed over into the note
quadrate and ligatures of Plain Song.
Neuvieme (Fr.) The interval of a ninth,
Nicht(Ger.) Not.
Ni'colo (It.) A large tind of bombardon
(iyth century) ; precursor of the, bas-
soon.
NieMer- (Ger.) T)<yim...NiS<lersckIag %
down-beat. . .Nifderstrich^ down-bow*
..NiSdertakt, down-beat.
Nineteenth, i* The interval of 2 octaves
and a fifth. 2. See Langot (organ-
stop).
Ninth. (Ger. No'ne; Fr. neuv&me; It
*/**.) An interval wider by a semi-
tone or a whole tone than a perfect
octave ; a compound second; but dis-
tinguished in theory from the second by
the fact that it enters into the formation
of a chord in the series of ascending
thirds. . . Chord of the ninth, a chord
practically recognized under 2 principal
forms : (i) the major, and (2) the minor
- chord of the ninth, each a chord of the
dominant seventh with added ninth;
13
MOBILE-NOTATION.
The former,
based on par-
fc: tials 2-3-(4)-5-
(6)-7-9,is acou-
stically the more
g^ euphonic,
zs\sz though the lat-
_ __ terhas been of -
F : V / : V tener used in
E'ical music. Their inversions are
ed according to the ordinary rule,
ip. Chord),
Notrile (It.) Noble ; refined, chaste, , .
Nobilmen'te, nobly. . Xon nobilitf^
with nobility, grandeur.
Noch (Ger.) Still, yet.
Nocturne (Fr. ; Ger. Noktur'ne, NaeW-
stuck; It. nottur'no!) A word intro-
duced by Field as a title for piano-pieces
of a dreamily romantic or sentimental
character, but lacking a distinctive
form.
Noc'turns. Services of the Church held
during the night, each portion of the
Psalm set aside for this purpose being
termed a Ifocturn.
Nodal figures. The figures correspond-
ing to the nodal lines of a vibrating
plate of wood, glass, etc.; rendered
visible by strewing fine dry sand on the
plate, this sand being tossed by the
vibrating portions of the plate to the
nodal lines, which are points of perfect
or comparative rest; the symmetrical
figures thus formed are also called
. ChladwLS figures } having been discov-
ered by him. . . N. point, see Node.
Node. {Ger. JCno'tenpunkt; Fr. nceud;
It no' do) A point or line in a vibrating
body (such as a string, soundboard,
trumpet, bell), ,which remains at rest
during the vibrations of the other parts
of the body. Opp. to Loop I.
No'dirs (Lat, "knot"".) An enigmatical
canon.
Noel (Fr.) A sort of carol sung in the
South of France, chiefly on the day be-
fore Christmas, or Christmas eve*
Nceud (Fr.) i. A turn (usually groups).
2. A node.
Noire (Fr.) A quarter-note.
Nome, Nomos (Gk.) A canon (rule)
for mus. composition; hence, a song
,, composed according to the rule.
Non (It.) Not.
No'na (It), No'ne (Ger.) The interval
of a ninth.
Nones. The fifth of the canonical hours.
Nonet'. (Ger. Nonetf; It. nonet to.) A
composition for 9 voices or instr.s.
Non'nengeige (Ger.) Nun's-fiddle,
tromba marina.
Nono'le (Ger.) Nonuplet.
Non'uplet. A group of 9 notes of equal
time-value, executed in the time proper
to 6 or 8 of the same kind belonging to
the regular rhythm.
Normal'ton (Ger.) % Standard piteh...
Normal' tonarten (pi.), normal keys. . .
Normal 'tonleitern^ normal scales.
No'ta (Lat. and It.) A note.. .N. buo'na,
an. accented note,. .N. camUa'ta (cam-
bita), (a) a changing-note ; (ft) an irreg-
ular resolution of a dissonance by a
skip. . . N. caratteri 'stica, leading-note.
. .JV. catti'ua, an unaccented note. . .
Nota contra notam (Lat.), note against
note, equal counterpoint. . . ^V. d*abbelli-
meri 'to ', a grace-note . . . N. dapassa'gio^
a passing-note. . .N. falsa, a changing-
note. .-.A^ principals, a principal
(essential) note. . .^V. quadra' to, (quadri
quar'ta), a Gregorian or plain-song
note. . .M roma'na, a neume. . . N. sen-
si' bile, the leading-note,
Notation. Musical notation is the art of
representing musical tones by means of
written characters. Letters, numerals,
and signs of different kinds, have been
used. The signs now almost univer-
sally employed are called notes, and are
written on a staff of 5 lines ; hence, this -
system of writing music is termed Staff-
notation (Comp. also Alphabetical 'nota-
tion, Neumes, Numerals ^ Tonic Sol-fa*}
i. The lines and spaces* of the staff
indicate the pitch of the notes. The
lines which Hucbald first used (about
A.D. 900), served the same end by
representing strings ; in the spaces be-
tween, the syllables of the words sung
were written, the relative pitch of the suc-
cessive tones being (sometimes) marked
by the letters t (=.tonus, whole tone),
and s (=semitonium y semitone). This
system was ulso used later for noting the
primitive part-music called origanum or
discant; increasing the number of lines
as far up or down as necessary, and
setting the syllables for the several parts
vertically one above the other.^An ex-
ample of one-part notation ace. to
Hucbald now follows :
NOTATION.
I3J
ta
H/
\ lus\
Ec\ Isra \ /
in quo \ o/
no\
S ce\ / he
do/
on\
vere /
est
Solution in choral notes ;
EC - ce* Ve - re Is - ra - he - li - ta, in quo do - lus non est.
Nearly contemporaneously with Huc-
baTd's invention, an innovation appeared
in neumatic notation ; a red horizontal
line was drawn across the page, and all
neumes written on this 1 line ___
were of the same pitch, this |SS J
pitch being fixed by a letter /:
set before the line. A second line,
but yellow, was soon" added' for c l
above the /-line (or delow, for plagal
melodies) ; the" two greatly facilitated
the Dreading- of written music. An-
othe* improvement, in a different dir-
ection, is shown by an orderly system
of lines marked in regular succession
by Greek letters set before them, the
tones being represented by points or
" dots on the lines. To Guido d'Arezzo
is generally ascribed the systematization
and introduction (about 1026) of the
4-line staff > in which both lines and
spaces were at length utilized; he re-
tained the red and yellow lines, added a
third (black) line between them for a,
and a fourth (black) line either above or
below these three, according to the
range of the melody written, for e l or d;
He did not use notes, but either letters
or neumes.
2. A staff being thus established,
and 'affording a firm basis for exactly
fixing the pitch of written music, the
neumes hitherto in ordinary use gradu-
ally lost their hieroglyphical appearance
and became transformed into the Choral
Notes of Plain Chant, the regular square
form of '- which (p)* gave rise to the
name nota quadrata or quadriquarta^
other shapes occurring only occasionally
in certain figures ^ ^"^ or ^* ^ *
The 4-line staff is still retained in Plain
Chant ; other staves, having from 6 to
15 or more, lines, were arbitrarily em-
ployed down to the i$th century, when
the 5-line staff for all vocal music ex-
cept Plain Chant, and the 6-line staff hi
organ-music, were universally adopted ;
the present 5-line staff superseded the
latter after the invention of music-print-
ing. All this time the form of the clefs
was likewise changing, the original /
and c becoming :
(/) . w
33
etc.; the g also assumed a great variety
of fantastic shapes before the modem
forms were finally settled.
3. Mensurable notation, differ-
ing from that of Plain Chant by express-
ing a determinate (relative) time-value
of the tones in its notes, which were
invented for the exact indication of
rhythmic relations, appeared near the
beginning of the I2th century. The
notes" in use for some 200 years, and
imitated from Plain Chant, were the
Large (*^) or duplex longa or maxima;
the Long (^ or knga; the Breve (p),
and the Semibreve (+ or jr) ; to which
were then added the Minim ( 1) and
Semiminim (1). Early in the I5th'
century the first five were supplanted
1 by the open notes (large r^ , long fj >
breve [^ , semibreve O or A, minim \ \
the smaller notes which had been gradu-
ally added being written in 2 fonns ;
Semiminima [J] A or ^.
Croma or Fusa [j] B or A.
Semicromaor Semifusa [J5] ^ or
Below are the corresponding rests :
Perfect Imperf. Perf. Imperf. Breve- Semibr.- Minim-rest Semiminim- Croma- Semicr.-
Large- Large- Long- Long- rest rest (Suspirium) rest rest rest
rest. rest rest, rest. (Pausa) (Semipau.) (Semisuspirium).
fe|
132
NOTATION.
The single notes were often joined in
groups (comp. art, Ligature)*-- The
angular notes of measured music were
not finally supplanted by modern round
notes, in music-printing, till about 1700,
though in MS. music they had been
freely employed since the i6th century.
For determining the relative time-
value of the notes, various and often
conflicting rules were made for the
Modus (mode), Tempus (time-value df
the breve), Prolaftio (prolation}, Color,
Position, etc.; a brief explanation of
the 16th-century rules follows, premis-
ing, that the terms perfect and imper-
fect refer to the measure or time, trifle
time being regarded (out of reverence
for the "Blessed Trinity") as perfect,
while duple time was held to be imper-
fect ,
MODUS (mode) governed the subdi-
vision of the Large into Longs, and of
the Long into Breves : in the
Modus major perfectus, I jlS = 3 1^
=2 1
u " Imperfec., 1 1
" minor perfectus, z U
" -" imperfec., I tj
TEMPUS (time) governed the subdi-
vision of the Breve into Semibreves ; in
Tempus perfectum (sign the circle
= 3
= a fS|
Tempus imperfec. (sign the semic.
PROLATIO (prolation) governed the
subdivision of the Semibreve ; in
Prolatio major 1^ = 3^
" minor i ^ = 2 A
the former marked by a dot in the time-
signature (or (;, the latter simply
by the absence of a dot,*
The usual mode-signatures were ver-
tical strokes (long-rests) at the head of
the staff ; e. g. ? with the signs for tern-
pus and prolatio :
~\ ( Modus maj. perf.
H-ffl-- J Modus min. perf.
^ J Tempus perfectum
I Prolatio major
* The system previously in vogue referred to
the relative time-value' of the notes in general ;
thus, according to de Vitry (isth century) :
L prolatio :|
II. *
m.
3 +
f Modus maj. imperf.
) Modus min. perf.
"i Tempus im^rfec.
( Prolatio major
( Modus maj. perf.
J Modus mm. imperf.
j Tempus perfectum
( Prolatio minor
' Modus maj. imperf.
Modus min. imperf.
Tempus imperfectum
Prolatio minor
N.B. The time-signatures were often written 1
smaller, between the second and third, or third
and fourth, lines, etc* The mode-signatures
were also drawn from the fourth line down to
the lowest ; as a rule, they were omitted alto-
gether, leaving the reader to ascertain the
mode from conventional peculiarities in the
notation called sig'na. impli'cfta or intrin'-
ser.a (implied signs), in contradistinction to the
signet indicia' Ha (indicatory signs) ; as, in the
greater mode perfect^ a group of 3 black larges
(see Color, below), or, in the lesser tnodf per"
feet) a group of a black longs, or 3 breve-rests
at the beginning of a modal unit.
POSITION (i. e. the order in which
the notes stood) was very important
A long followed by a long, or a breve
by a breve, was always perfect (tripar-
tite) by position; whereas a long pre-
ceded or followed by a breve, or a
breve preceded or followed by a semi-
breve, was always imperfect (bipartite)
by position. After the minim was in-
vented, the semibreve also became
similarly influenced by its position ; the
minim and lesser notes were always
perfect.
COLOR was the general designation
for notes differing in. color from those
ordinarily used ; the red note (no'iula
rufbra) of the I4th century generally
marked a change from perfect to im-
perfect time, or vice versa ; the white
note (notula alba) was at first used like
the red, but soon obtained the fixed
and definite signification of imperfec-
tion in opposition to the ordinary black
note (of the I4th century); finally, the
black note (notula nigra) of the i6th
and 1 7th centuries, when the white
notes were universally adopted, in its
turn indicated imperfection ; thus, from
the 1 5th century onward, groups of 2
or more black notes had &&proportio
hemiolia to the surrounding white notes,
i. e. tljeir time-value stood to that of
the latter in the ratio of 2 to 3, hence
their name Hemiola or Hemiolia (t{.v.)
AUGMENTATION AND ' DIMINUTION,
Terms used loosely to express any in-
crease or decrease in the time-value of
the notes ; but signifying, specifically,
(augmentatio) a retarding of the tempo,
generally doubling the integer valor;
NOTE.
and (diminutio) an acceleration of the
tempo, generally reducing 1 the integer
valor by one-half. The diminutio was
first expressed by a vertical line through
thetempus-signature ( (J ft) (f), or
by inverting the semicircle (j )f also
by adding to the te#z/#,r-signature, in
the midst of a composition, numerals
or fractions (3, 2, f, f, f,) 2 or Jthen
signified that 2 /<zr/^ (semibreves ^)
were equal toi Oof the preceding tem-
po ; etc., etc. Augmentatio was gen-
erally employed to reverse a preceding
diminutio; the sign for which was sim-
ply annulled by the usual sign for the
integer valor (Q ) or by the in-
version of the fraction ( J, \ , etc.) These
fractions, however, were properly
termed signs of Proportion.
' PROPORTION. The theory of Pro-
portio, from the 1 5th century onward,
treats of the different time-signatures
and tempo-marks applied to several
parts progressing simultaneously ; for
instance, in a 4-part composition the
integer valor might be marked for the
discant in tempus perfectum Q, and for
the bass in tempus imperfectum ([, the
alto might be in tempus imperfectum
diminutum (J , while the tenor had di-
minutio intrtpla (J 3 ; further, changes
might be made in any or all parts in
the course of the piece, and were indi-
cated by fractions (the signs of propor-
tion; compare Augmentation, above).
ALTERATION (alteratio) was the doub-
ling of the time-value of the second of 2
equal notes, and occurred either when
the next largest kind of note was per-
fect, and the 2 (smaller) notes stood
between two such large ones, or when
the 2 notes were separated from a
following note of equal or smaller
value by a punctum divisionis; e.g.
HOO |=4 in tempus perfectum (Q)
would be expressed thus in modern
notation ( e \ d & \ o * )
The PunStum or Punc'tus (point,
dot) had various uses ; (a) Punctum
augmentation nis , equivalent to our dot
of prolongation ; (o) Punctum altera*
tio'nis, which, placed before the first
of 2 short notes lying between 2 long
ones, doubled the value of the second
short note and restored the perfection
of the 2 long ones ; (c) Punctum per-
fectio'nis, used in prolation, and also
to restore the perfection of a note made
imperfect by position ; and (d) Punc-
tual divisio'nis or imperfectio'nis,
written between 2 short notes lying be-
tween 2 long ones, indicated the imper-
fection of both the latter.
None of these rules or signs were in-
variably followed or employed; the
above remarks will serve, however, to
give a correct general idea of the in-
tricacies of Mensurable Notation. (Also
see Figurtt obliqued)
Note. (Ger. and Fr. No'te; It no'ta.)
One of the signs used to express the re-
lative time-value of mus. tones. (Comp.
Notation?) The notes employed in.
modern notation are the following :
, English. German.
French.
Italian.
Breve, or Brevis
Breve, or Carree
Breve
or 1(0(1
Double note
1
Semibreve, or
Gaiunote, or
( Semi-breve, or
Semibreve
O
Whole note
ganze Taktnote
\ Ronde
Jr
Minim, or
Half-note
Halbnote,or
halbe Note
Blanche
Minima, or
jr
Crotchet, or
Quarter-note
Viertel, or
Viertelnote
Noire
Semimimma, or
Nera
K p
Quaver, or
Achtel, or
Croche
Czoma
i^ t
Eighth-note
Achtelnote
k ff
Semiquaver, or
Sechzehntel, or
Double-croche
Semicroma
B
Sixteenth-note
Sechzehntelnote
S ff J Demisemiquaver, or f Zweiunddreissig-
' % \ Thirty-second-note ] stel(note)
Triple-croche
Semibiscroma
^fi ^ Hemidemisemiquaver, J Vierundsechzig-
:$* 1 or Sixty-fourth-nofe. ] stel(note)
Quadruple-croche
Quattricroma
Black note, one having a solid head(J);
opp. to white note ( J). Also, a black
digital or key. . . Changing note, see
Changing-note \ ..Character-notes, notes
varying in shape from those in common
use, employed to present characteristic
qualities of the tones other than their
time-values.. . Choral-note ',see Notation^
i and 2. . . Crowned nott^ one with a
hold (g) over it. . .Double note, a breve
(= 2^).. t Driving-note, a syncopated
note. . , Essential note \ a chord-note, or
melody-note . . . Grace-note, see Grace.
. . .Hold*
NOTE-OBBLIQUO.
"ing-note, a tone sustained in one part
while the other parts move*. .Leading
note, Master-note, see Leading-note. . .
Open nqic, a white note . . . Passing note,
see Passing-note * . .Redting-note, see
Rtdting* . . White note, see Black note.
Note (Fr.) A note. . .N, acddentfe, an
accidental. . tN.d'agrtment, or degout,
grace-note ..jV. sensible, leading-note.
. .Notes surabondantes(y\.\ groups like
triplets, quintuplets, etc., etc.^The
French names for the 7 notes of the
scale are (i) ut, rS r mi^fa, sol, la, si;
and (2) tonique, sus-tonique, me'diante,
sous-dominante, dominants, sus-domi-
nante, sensible.
Noten (Gen pi.) r. Notes. 2. Music
(i. e. compositions, pieces).
No'tenfresser^Ger.) Same as Crcque-
note*
No'tograplL See Melografk.
Nottur'ao (It) Nocturne ; dimin. Not-
turni'no,
Nourri (Fr., "nourished".) Un. son
nourri, a full or well-sustained tone.
Novellette. A name probably first be-
stowed by Schumann (Op. 21) on a style
of Instrumental composition free in form ,
bold in harmonic structure, romantic in
character, and specially characterized by
a variety of contrasting themes and by
considerable length. (Sometimes^w/-
ttie.)
Novemo'le (Ger.) A nomiplet.
Nowel. (Fr.W<?#.) A Christmas carol,
especially one in polyphonic style.
Nuance (Fr.) A shading or inflection in
vocal delivery orinstrumental rendering,
affecting either timbre, tempo, or dyna-
mic effect, to a greater or less degree.
Null. A naught or cipher. (See 0.)
In thorough-bass, a cipher calls for
iasto solo.
Number, i. A principal division or move-
ment of an .extended composition, like
an opera or oratorio ; or any smaller
and more or less complete portion 'of a
large work, as a song, aria, interlude,
etc.; or, finally, any single piece on a
program. 2. Equivalent to Opus-num-
ber,
Numerals. For the employment of
Arabic numerals, comp. Abbreviations
2, Fingering, Harmonium-music, Or-
gan, Phone 6, Pitch 2, Tablature,
Thoroughbass. As abbreviations, 2-
time, 3~time t are equivalent to duple !
time, triple time ; flte, $tte, to quartet,
quintet... (It) 3% 4*, 5', 6% 7*, con-
tractions of Terza, Quarta, Quinta,
Sesta, and Settima respectively; <?or <$**,
"all'ottava"; 75, "allaquindecima,"
. ,(Fr.) 2p,4p, 8p, i6p,equiv. to 2-foot,
4-foot, etc. . .Roman numerals are used,
in mus. theory, to mark fundamental
chords, thus showing at a glance from
what triad any given inversion is de-
rived (comp. Chord, and Phone, 5, 6).
Nu'menis (Lat.) i. Number. 2.
Rhythm.
Nunc dimit'tis. The' first "2 words in
the Canticle of Simeon (Luke II, 29-32)
11 Nuncdimittisservum- tuum, Domine,
in pace" (Now, O Lord, lettest
thou thy servant depart in peace) ; a
text frequently used by composers, and
forming portions of special services in
the Catholic and Anglican Churches.
Nun's-fiddle. Trpmba marina*
Nuo'vo,-a (It. [nop-6'vo].) New...z'
nuovo, anew, again.
Nut. I. (Ger. Satftel; Fr. silht; It.
- capota'sto.) The ridge over which the
strings pass at the end of the finger-
board next the head of a violin, lute,
etc. 2. (&ti.,Frosch; Fr. talon.) The
movable projection at the lower end of
the violin-bow, to which the hair is at-
tached, and by which it is tightened or
slackened. 3. The lower nut on the
violin, etc., is the ridge between the
tailpiece and tailpin (or button).
o.
0. A circle (Q) was the medieval sign
for temfus ferfectum (see Notation,
3); enclosing figure ((i)), see Harmoni-
um-music... A small circle signifies, in
modern notation, (a) an open string ;
(b) the harmonic mark ; (c) the dimin-
ished fifth ; (d) in thorough-bass, to-
sto solo; (e) in old German clavier-mu-
sic, marks notes to be played with the
thumb.
(It.) Or. (Also od.)
Obbliga'to (It.) Required, indispensa-
ble. An obbl. part is a concerted (and
therefore essential) instrumental part;
the terrn is specially applied to an in-
strumental part accompanying and vy-
ing with a vocal solo, very numerous
examples of which may be found in the
music of the i8th century.
Obbli'quo (It.) Oblique.
OBER-OCTAVIN,
OTjer (Ckr.) Over, above, higher... 0'-
ber dominance, the dominant (opp. to
Un f terdominante, the subdominant) . . .
tfberlabium, upper lip (organ-pipe) . . .
Q'bermanual, upper manual . . . O'ber-
stimme, highest part. . . O'bertaste, black
key. , , O'bertdne, overtones, harmonics;
pMnischer Oberton, the 1 5th partial..
.O'berwerk (in Germany), ^0z>-organ
(when organ has 2 manuals); swell-vc-
ean (when organ has 3) ; .M/0-manual
(when organ has 4 manuals). (Abbr.
Obw,, or 0. W,)
Obljgat',-o (Ger.), Oblig6 (Fr.) Ob-
bligato.
Oblique motion. See Motion. . . Oblique
pfte., an upright pfte. with strings run-
ning diagonally instead of vertically.
Obli'quus (Lat.) Oblique . . . Figura
obliqua, see Figura. . . Motus obliquus,
oblique motion.
OT>oe, (Ger. Obo'e; Fr. hautbois; It.
oboe'.) i. An orchestral instr. with
conical wooden tube, having from 9 to
14 keys, and a double reed held by the
player directly between his lips, he thus
completely controlling the expression.
Compass Sva. though either ex-
2 octaves - T'~~~ treme * s difficult
plus a (j\j - "\J_ =. and hazardous,
seventh : if tnr The scale above
r is formed by octaves of the
": fundamental tones, as in the
" flute, the fingering of which is
also similar to that of the oboe. The tone
is very reedy and penetrating, though
mild, and equally suited for scenes of
pastoral gaiety or of lonely melancholy.
* The oboe family is incomplete, only
2 instr.s, the ordinary treble oboe (for-
merly obob pitfcoto) and the alt-oboe
(cor'no ingle'se) being now used, the
former as a non-transposing instr.
written in the -clef , the latter as a
transposing instr. The bass for the
oboe is furnished by the bassoon. The
oboe d'amo're (Fr. hautbois a" amour) is
at present played only in the historical
concerts of the Brussels Conservatory ;
its pitch is a minor third below the
treble oboe, and it differs from the ob-
solete oboe bas'so (Fr. grand hautbois)
in having a spherical bell with a narrow
aperture, whereby the tone is sensibly
subdued. The parent instr. of the
- oboe was the shawm* (See APPENDIX.)
Oboi'sta (It.) Oboist.
Ocari'na. A small wind-instn, an im-
' provement of the toy 2-tone cuckoo-
pipe. It has an elongated bird-shaped
terra-cotta body 5 or more inches long,
provided with a varying number of fin-
ger-holes, and with a mouthpiece like a
whistle projecting from the side. The
tone is mellow and fluty. The better
kinds are provided with a tuning-slide.
Occhia'li (It.) Same as Brillenbasse.~
Also, recent name for the white notes
(o and J,
Ochet'to (It.), Oche'tus (Lat.) See
Hocket,
Octachord, i. An 8-stringed instr. 2.
A series of 8 consecutive diatonic tones.
Octave, I. (Ger. Okta've; Fr. octave;
It. otta'va.) i, A series of eight con-
secutive diatonic tones. 2. The inter-
val (1:2) between the ist and 8th tones
of such a series. (Comp. Interval?) 3.
The 8th tone of such a series, consid-
ered in its relation to the ist ; or vice
versa. The 8th is called the higher oc-
tave of the ist, the ist the loweroctave
of the 8th. 4. One of a number of
arbitrary divisions of the entire range
of tones employed in practice, made for
the sake of convenience in referring to
and establishing the absolute pitch of
each tone. (Comp. Pitch.) 5. In the
organ, a stop whose pipes sound tones
an octave higher than those represented
by the digitals touched j like the Prin-
cipal. ..At the octave^ see Ottawa-, all 1 .
. .Broken octaves, see Broken.. . . Con-
cealed, covered, or hidden octaves, paral-
lel octaves suggested^ the progression
of 2 parts in similar motion to the in?
terval of an octave . , . Rule 'of the oc'tave,
a system of harmonizing the diatonic
scale taken as a bass ; much employed
in tuition before the laws governing
harmonic progression had been formu-
lated. . . Short octave, in organ-building,
the lowest octave of the keyboard,
when abbreviated by the omission of
all digitals but those needed for the
bass of the simpler harmonies, the digi-
tals remaining being set side by side as
if forming the regular series ; this -was
done to save expense and space. *-. Oc-
tave-coupler, see Coupler. . . Octave-
flute, (a) the piccolo ; (o) an organ-
stop of 4-foot pitch. . , Octave- scale, see
Mode. . . Octave-stop, same as Octave 5.
Octavia'na, See Ottavino. (Also oc~
tavin, octavina, octavino?)
Octavin' [-veen]. i. See Ottavino.z.
A wind-instn inv. in 1803 by Oscar
435
OCTAVO OPERA.
Adler of Markneukirchen, Saxony. It
has a single reed, and a wooden tube
of conical bore; the keys are so arr.
that the fingering is similar to that of
the clarinet, oboe, etc. The tone is
quite powerful ; the timbre between
oboe and horn. Made in 2 sizes, Ify
and ; compass 3 octaves, c l c\
Octavo attachment. See Octave-pedal,
under Pedal.
Octet^ (Ger. Oktetfj Fr. octette; It.
ottetto) A composition for 8 voices
orinstr.s.
Octo-basse (Fr.) The octo-bass, an
immense 3-stringed double-bass 4 me-
tres in height, provided with a median-
ism of digitals and pedals for stopping
the strings ; it is a third lower in pitch
than the ordinary double-bass (Ci-d-C),
and its tone is smooth and powerful.
Inv. by J. B, Vuillaume in 1851.
Octochorl See Octachord.
Octole (Ger.) Octuplet.
Oc'tuof. Same as Octet.
Oc'tuplet. A group of 8 equal notes
having the same time-value as 6 notes
of the same kind in the regular rhythm.
Ode. A lyric poem intended for singing,
and expressive of lofty and fervent
emotion; it has no set characteristic me-
trical form. Also, the musical setting
of such a poem.
Ode'on. (Gk. *&i'w/Lat ode f um.) A
public building in which musical con-
tests were held.
O'der (Ger.) Or, or else.
Ode-symphonie (Fr.) A choral sym-
phony, symphony with chorus.
(Euvre(Fr.) Work, composition,
Off. In organ-music, a direction to push in
a stoporcoupler; as -Sift, to Gt, off^ . Off
tkc pitch, false in pitch or intonation.
Of fen (Ger.) I. Open (of organ-pipes).
2. Parallel (fifths, octaves). '
Of fenbar (Ger.) Open, manifest... Of-
fenbare Okta'ven, Quin'ten, open or
parallel octaves, fifths.
Offertory. (lit. and Ger. 0/erto'rium;
Fr. offertoire; It. offerto'rio) In the
R. C. Mass, the verses or anthem fol-
lowing the Credo and sung by the choir
while the priest is placing the unconse-
crated elements on the altar, during
which the offerings of the congrega-
tion are collected. The daily offertory
of the Gregorian antiphonary is now
usually supplemented by a motet on the
same or different verses ; such offerto-
ries are also composed with instrumental
accomp.
Oficle'ide (It.) Ophicleide.
Oh / ne(Ger.) Without.
Oh'renquinten (Ger., " ear-fifths ".)
Covered fifths, the ill effect of which
the ear detects (or is supposed to de-
tect) ; sometimes used to designate
mere theoretical finicalities.
Okta've (Ger.) Octave. .. Oktaviiren,
to produce, when overblown, the higher
octave of the lowest natural tone of the
tube (w\K&-m*ti.*)...Okta'i/chen, Ok-
tat/flote, piccolo. . . Oktafvengattungen,
octave - scales . . . Okta'venverdof'pelun-
gen, OktaT/folgen,-paralle f len, parallel
or consecutive octaves . . . Oktatf- Wald-
horn, a new species of Waldhorn, inv.
by Eichborn and Heidrich of Breslau,
of particularly full tone in the high and
low parts of its range.
Oktavin'. See Octavin 2.
O'lio. A medley, or mus. miscellany.
Olivettes (Fr.) Dances after the olive-
harvest.
Om1>ra (It.) A shade, shading, nuance.
Om'nes, Om'nia (Lat.) All. See TuttL
Om'nitonic. (Sr.omnitonique^ Having
or producing all tones, chromatic; as
-
Once-accented. See Pitch.
Ondeggiamen^o (It) Undulation...
Ondeggian'te, undulating, wavy.
Ondulation (Fr.) Undulation . . . Ondutt,
undulated, wavy.
One-lined. See Pitch.
Ongare'se (It.) Hungarian.
Onzieme (Fr.) The- interval of an eler-
enth.
Open diapason, harmony, note, order,
fedal,fife, etc.; see the nouns.
Op'era. (It. ffjfera \sSria, luff a, etc.],
dram' ma fer mu'sica; Fr. Optra; Ger.
O'per, Mitsikf drafiia?) Modern opera,
a form of dramatic representation in
which vocal and instrumental music
forms an essential and predominant ele-
ment, took its rise towards the close of
the 1 6th, century in the striving of Ital-
ian (Florentine) composers' and aesthe-
ticians to emancipate vocal music from
the fetters of contrapuntal form. Their
efforts led to the adoption of Monody
OPERETTA-OPHICLEIDE.
13?
(q. v.) as an art-style, and its application
to dramatic purposes. The first opera
given was probably "Dafne" (music
by Peri and Caccini, book by Rinuccini)
in 1594, which was lauded to the skies
as a successful return to the musical
declamation of the ancient Greek trag-
edy. The dry stilo rappresentati-vo of
the earliest operas was improved upon
by Monteverde (1568-1643), who em-
ployed vocal and orchestral resources
with a freedom undreamed of up to his
time, justly earning him the title of
'* father of the art of instrumentation".
His orchestra for the opera "Orfeo"
(1608) is given below :
2 Gravicembani, 2 Contrabass! di Viola, TO
Viole da Braccio, x Arpa doppia, A Violin! pic-
coli alia francese, 2 Chitarroni, 2 Organi di
legno, 3 BassidaRamba, 4 Tromboni, i Regale,
a Cornetti, x Flautina alia aada, x Clarino, con
3 Trombe sorde.
With Alessandro Scarlatti (1659-
1725) begins the era of modern Italian
opera ; the sensuous charm of melody
asserts itself more and more strongly ;
the singer becomes master of the situ-
ation, and operas are written to his
order. This tendency, early transplant-
ed with Italian opera to France and
Germany, was combatted by leading
composers of those countries; Lully
(1633-1687) and Gluck (1714-1787)
were reformers of the musical drama in
ridding vocal diamatic music of super-
fluous melismasand coloraturas, making
it follow throughout the course and
sense of the action. The grand or
Aeroie opera, with its full choruses and
finales, its arias and recitatives, and all
varieties of ensemble (duets, trios,
quartets, etc.) is a growth due to the
grafting of Italian opera upon the
French musical stock, and is the style
especially affected by modern French
composers ; the formal plan of Italian
opera was likewise adopted by the great
German composers, but with an infusion
of artistic potency and sincerity which
raise their productions far above the
earlier level (Mozart, Beethoven), and
a tinge of German romanticism which
lends them a truly national color (Weber,
Marschner). In comedy-opera the Ital-
ians were also pioneers (Pergolesi,
Cimarosa) ; then follow the French
(Gretry), and lastly the Germans (Mo-
zart), all in the i8th century. Recent
Italian operas show a distinct reaction
against the old type, and bear witness
to the strong influence of Germany (par-
ticularly of Wagner). France continues
in the footsteps of her national compos-
ers (Gretry, Mehul, Boieldieu, Adam,
Herold, Halevy, Auber, Meyerbeer,
Gounod). To the purification, or rather
annihilation, of the quasi-dramatic form
of the grand opera, Richard Wagner
(1813-1883) devoted all the powers of
his marvelous genius. The guiding
principle in his " Musikdramen" (musi-
cal dramas) is the harmonious coSpera-
tion of the dramatic, poetic, scenic, and
musical elements ; thus, the action of the
drama must never be checked or veiled
by purely musical episodes, however
charming in themselves ; the music must
illustrate the (emotional) course and ef -
fects of the action, and nothing else.
Hence the discontinuance of cut-and-
dried movements and leveling of tradi-
tional forms, the rarity of full cadences
and harmonic sequences, the richly
modulated flow of inspired melos, the
absence of " vain repetitions" of words
and phrases, the uninterrupted dramatic
interpretation by the orchestra of scenes
and moods. Both the grand opera and
the Wagnerian drama find zealous ad-
vocates and imitators ; these, together
with operettes of most various com-
plexion, are the typical forms of musico-
dramatic composition at present. The
comedy-opera, varies the form of grand
opera by the interpolation of spoken
dialogue . . . Opfra-boujfe [formerly &?#/"-
fon\ (Fr.), light comic opera. .. Opera
bttjfa (It.), Italian opera of a light and
humorous cast, comic opera in which
the dialogue is carried on in recitative
secco, instead of being spoken. , . Optra
comique (Fr.), comedy-opera . . . Opera
scri<t(lt*)t serious (grand, heroic, tragic)
opera ; opp. to opera bufa.
Operet'ta (It.; Ger. and Fr. Operefte.)
A "little opera", with reference either
to duration or style of composition.
The text is in a comic, mock-pathetic,
parodistic, or anything but serious vein;
the music light and lively, in many
cases interrupted by dialogue. The
English Ballad-operas and the German
Singspiele are varieties of the operetta.
Modern masters of this style are Offen- -
bach, Lecocq, Strauss, Sullivan, etc.
Oph'icleide. (It Ojick'ide^ The bass
instr. of the key-bugle family (brass in-
struments with keys), now little used; it
was made in various sizes and of differ-
ent pitch ; (i) as bass ophicleide in C %
138
OPPOSITE MOTION ORCHESTRATE.
fy, and A\), compass 3 octaves and
a semi- rg_. ( 2 ) as ^~
,tone,chro- p j |~ ophicleide
matically B: 3 ^ -F and
ascend- "fj |b C ^ com-
^ pass the
upward , (3) as
but |^ j ^p^ cmtraha, _
and
ing from:
same, gp
u tE
| contrabass
ckide in
7, compass only
only
from: . .
2# octaves, pitched an octave lower
than the alt-ophicleide. Only the bass
ophicleide was for a time in compara-
tively general use. (RlEMANN.) NOW
superseded in the orchestra by the bass
tuba in E$*
Opposite motion. Contrary motion.
Oppu / re(It.) Or, or else; abbr.0//. See
Ossia. t
O'pus (Lat.) A work; abbr. Of. or op.
Qrato'rio* (Fr. and It, ditto ; Lat. and
Ger. Orato'rium.) An extended com-
, position of dramatic type, for vocal soli
and chorus with orchestral accomp.,
usually having a text based on Script-
ure. It is distinguished from Opera
mainly by the absence of scenic decora-
tion and of stage-play by the perform-
ers, the action being contained j'w/AVto
in the words. The oratorio takes its
name from the oratory in which the
monk Neri (d. 1595) held discourses,
illustrated by sacred songs, on biblical
history ; similar productions of a mys-
tical character, and a growing prepon-
derance of the musical element, led up
to the first known oratorio employing
the rtdtatwe (E. del Cavaliere's u Ani-
ma e. Corpo 7 *, 1600), which is also a
distinctive feature of the operav At
this period oratorios were given with
scenery and dramatic action (azio'ne
sacra)\ the adoption by Carissimi (d.
l674)of theepical part of the Narrator,
rendered both superfluous. The modern
oratorio, with full orchestra, recitatives,
lyrical soli, and the grand choruses (in
their solemn and majestic breadth the
fundamental characteristic of oratorio-
style), is a product of the early i8th
century (Haydn, Handel). (Coiop.Mys-
Urifs^ Passion, Opera.} Rubinstein's
"geistlkhe Opera " (sacred operas,
P#radis;e Lost % Tower of Babel, Moses,
Ghristus) are also called oratorios-, al-
though- adapted for stage-performance,
for which reason they are playfully
. termed ** Operatorios."
Orchestra. (Ger, Qrcfas'ters Fr. orches-
ire.) l. A place -ressryed (a) in the
ancient -Greek theatre,, for the chorus,
between audience ^and stage ; () Jn
ancient Rome, for seats for distin-
guished personages, in the same place ;
(c) in the modern theatre, for the band
of instrumentalists, placed in front. of
the stagehand either just below the level ,
of the lowest seats in the auditorium,
or (as in the Wagner theatre at Bayreuth)
- sunk still lower, and provided with a
Jialf-roof concealing the musicians from
the audience. Hence 2.- (a)' A com-
pany of musicians performing on the
instr.s commonly used in the theatre 'or
concert-hall in opera, in oratorio; etc.,
or in symphony-concerts ; (If) the instr.s
so played on, taken collectively'; as
Wagner's orchestra^ a symphony-orches-
tra. The orchestral instr.s (compare
Instruments) are classified in_4 main
groups: (i) The strings or string-
hand (violin, violaj violoncello, doub,le-
bass); (2).thew^i/-7wW(flute, piccolo,
English horn,, oboe, bassoon, double-'
bassoon, clarinet, basset-horti) ; (3) -the
brass-wind (French horn, trumpet,
trombbrie, saxhorns, "bass tuba, cornet,
[ophicleide] J; (4) the fencusswes (kettle-
drums, bass drum, snare- drum, cymbals,
triangle, bells, gong, and likewise the
harp and pfte., though the latter is not
generally reckoned as an orchestral H
instr.) The full orc/iestra t in which all
the above groups are' represented, may
be sifaeno, grand orchestra (symphony-
orchestra) or small orchestra; the for-
mer should contain 2 flutes, 2 oboes, 2
clarinets, 2 bassoons," 2 trumpets, 4
horns, 3 trombones, and ,a pair of ket-
tledrums., 'tp balance which there should
be, in the *' string-quartet", about 14
1st violitis, 14 2nd violins, 9 violas, 9
t violoncelli, and 6 double-basses (orches-
tra of the Gewandhaus, Leipzig); this
basic grand orchestra may be enlarged
. ad libitum (as for the modern opera) by
'doubling the principal in'stnsor ty 'add- -
jng others. On the other hand, by Je^v-
ing out the trombones, 2 of the horns,
and even the kettledrums and clarinets,
we get the small orchestra. Groups 2
and 3 constitute what is called the
"wind-band".
Orchestral flute. An organ-stop dosely
" imitating the flute in timbre.
Or/chestrate. (Ger. Qnfcstritfrenj Fr.
Wthestrer; It, or^hes^rare.) , -To
or Arrange
ORCHESTRE ORGAN.
ikestra'tion, the art of writing music
for performance by an orchestra ; the
science of combining, in an effective
manner, the instr.s constituting the
orchestra. [The best treatises on the
instr.s and on orchestration are by Ge-
vaert, Berlioz, and Riemann.]
Orchestra, (Fr.) Orchestra. . . J grand
orchtstre^ for full orchestra.
Orchestri'na di ca'mera. One of va-
rious small keyboard free-reed instr.s,
each constructed with the compass and
timbre of some orchestral instrument
which it was intended to replace, such
as the clarinet, oboe, or bassoon ; inv.
by W, E. Evans, about 1860.
Orchestri'no. A kind of piano-violin
imitating in tone the violin, viola d'a-
more, and 'cello ; inv. by Pouleau of
Paris- in 1808.
Orchestrion* The modern o. is a large
stationary barrel-organ (q. #.), generally
with a self-acting mechanism, and imi-
tating, by means of a "variety of stops,
various orchestral instr.s. The orch.
of Abb6 Vogler (inv. towards the end
of the iSth century) was a " simplified "
organ, in which the complicated key-
action and registers were abolished, the
pipes standing directly behind the keys
governing them, while the mixtures and
numerous other adjuncts were done
away with; it also had a Venetian
swell, and for the i6-foot stops he sub-
stituted a combination of an 8-foot stop
and a fifth (sj^-ft) an idea still of
utility.
Ordina'rio. (It.) Common, ordinary. . ,
Tempo o., common (4-4) time.
Or'gatu (Lat. origanum; Ger. Or* gel;
Ft. argue; It. oPgano.) The largest
and most powerful among musical
instr.s t and of great antiquity, trust-
. Worthy accounts reaching back to the 2nd
<#ntury B. C. Up to the loth century
A. D. the organ appears to have been
a very primitive instr., with a diatonic
compass of 2 octaves at mosf; ; the pipes
were all flue-pipes, constructed in much
the same manner as at present; reed-
pipes were not introduced until the i$th
century. But as early as 980 we hear
of an organ at Winchester, t England,
which had 400 pipes and 2 manuals,
each with a compass of 20 keys, and
with 10 pipes to each key. The keys
,of the early organs were so broad, and
the whole action so clumsy, that in
playing the plain-song melodies the
clenched fists, or even the elbows, were
used to depress them. Improvement
has been steady, and chiefly due to Ger-
man, English, and French organ-build-
ers. The pipe-organ (see also Reed-
organ) is a keyboard wind-instr. con-
sisting of few or many sets of pipes
controlled by one or more keyboards.
It has 3 distinct mechanisms : (i) The
wind-supply, incl, bellows, windtrunk,
windchest, etc.; (2) the pipes, called
collectively ti&pfye-iwrk; (3) the key-
boards, pedals* and stops, called collect-
ively the action, and under the player's
direct control. (i) The -wind (com-
pressed air) is obtained from a weighted
storage-bellows filled by feeders; from
the storage-bellows the wind is -driven,
by pressure of the weights on the stor-
age-bellows, through a hollow wooden
canal, the zvindtrunk, into the wind-
chest, a wooden wind-reservoir beneath
the soundboard on which the pipes ,are
set; the wind passes up through the
soundboard by way of grooves separated
by bars, and leading directly to the
pipes; the grooves are closed below by
pallets (air-tight valves) opened by de-
pressing the keys, and above by sliders
opened by pulling out the draw-stops*
(2) The pipes are divided into 2
principal groups, flue-pipes and reed-
pipes (which see; also comp. Stop).
They are held in position over the
soundboard by the upper-board, , into
which the JWJM of the pipes are inserted;
and the pipe-rack, a board pierced with
holes to admit the feet of the pipes an4
to support the latter. Each set of pipes
(a stop or register) is ranged in one or
more rows above a slifar, which is a
long, narrow strip of wood with holes
corresponding in size and relative posi-
tion to those iff the feet of the pipes^
and pushed back and forth by a draw-
sfyp; when the latter is on (out, or
drawn) the- slider-holes come 1 exactly
under the pipe-feet, so that wind can
pass from the grooves into the pipes;
when the draw-stop is 0jf(i.e. in) the
slider-holes are out of position, and the
pipes cannot speak. (3) The action :
(a] The draw-stop action is that acting
upon the sliders by means of a system
or levers; combination-pedals (see Pe-
dal) are compound draw-stops. ..(3)
The keyboard-action acts upon the pal-
lets closing the grooves; when, a key is
depressed, its rear end rises, forcingup
140
ORGANETTO ORGANUM.
an upright wooden wand called a sticker \
which raises the front end of a horizon-
tal lever called a backfall^ whose rear
end in turn goes down, and pulls with
it a tracker ', a thin, vertical strip of
wood bearing on its upper end the/#//-
down or pallet-wire, a wire attached to
a pallet (valve) closing the lower side of
a groove; this pull-down thus pulls down
the pallet and admits the compressed
air to the groove from the windchest; if
a draw-stop is on, so that the wind can
enter a pipe, the pipe will speak which
corresponds to the key depressed. This
is a common variety of key-action;
squares and roller-boards are also often
interposed between the stickers and
trackers; more recent inventions are
ti&pneuniatic and the electric actions , in
which the depression of a key simply
forms a connection setting the com-
pressed air or electric current at work.
..(*) Couplers are mechanical stops
acting to connect 2 manuals, or pedal
with manual, so that when one is
played on, the other is combined with it.
A 4-manual organ often has as many as
8, namely, 4 manual-couplers (Ch. to Gt. ,
Sw. to Gt., Solo to Gt., Sw. to Ch.),
and 4 pedal-couplers (Gt. to Fed., Ch.
to Fed., Sw. to Fed., Solo to Fed.) The
organ-keyboards are usua *ly called man-
uals; there may be from I to 5 (see list
below) with or without t fredal-keyboard.
Usual compass of manuals, 4 octaves
and a fifth, with 56 keys (sometimes 5
full octaves), from Cto r*:
Compass of
_pedal, up to
-2 octaves
^andafourth,
withsokeys:
This notation, however, expresses only
a part of the full compass, I
the lowest pedal-pipes
yielding Ct (2 octaves below
and the highest manual-pipes (piccolo i-
foot) producing^ 6 (3 octaves higher than
if the total compass of the
,v organ thus being 9 octaves
^ and a fifth (C 9 to g* ). The
stops belonging to each
manual are set on a separate sound-
board or set of soundboards, and con-
stitute a partial organ. The names
of the manuals follow :
ENGLISH.
Gt. prg. manual
Choir manual
Swell manual
Solo manual
Echo manual
GERMAN.
Haupt'werk (Man. I.)
Un'terwerk (Man. II.)
Schwell'wrk(Man. III.)
So'loklaver(Man.IV.)
E'choklavier (Man. V.)
TRENCH.
ITALIAN.
Grand-orgue (i r clavier) Principale.
Positif (2* clavier) ^ Organo di coro.
Clav. de recit (3* clavier) Organo d'cspressione.
Clav. des bombardes (4" clav.) Organo d'assolo.
Clav. d'echo (5* clavier) Organo d'eco,
Organet'to (It.) A bird-organ ; a bar-
rel-organ.
Ofganier (Fr.) Organ-builder.
Orgaoi'sta (It) Organist.
Orgatus'trum (Lat) Hurdy-gurdy.
Or'gano (It) Organ (q. /.)... 0, piSno,
full organ... O.porla'bite, a portable
organ.
OrganochorMinm. A combined pfte.
and pipe-organ (Fr. piano or ganis4)\ the
idea originated with Abb6 Vogler.
Organ-point. (Ger. QSgelpunkt; Fr.
point cTorguc ; I^pun'to d'or'gano!) A
tone sustained in one part to harmonies
executed by the others. It is ordinarily
a bass note (usually the tonic or dom-
inant, or even both combined), and is
also called a pedal-point, or pedal; but
a tone so sustained in a higher part is
more properly termed a holding-note, or
simply a sustained tone^ and the organ-
point is then sometimes termed inverted.
Pastoral 'organ-point ', tonic and dom-
inant sustained together in the bass.
Origanum (Lat) I. An instrument;
later, an organ. 2. The earliest at-
tempts at harmonic or polyphonic
music, in which the parts progressed in
parallel fifths and fourths. The excru-
ciating effect of this diaphony on the
modern ear has led investigators to
make the most of any historical evi-
dence going to show that these pro-
gressions were not simultaneous, but of
an antiphonal character ; it appears to
be established, however, that they were
really the connecting link between the
earlier chanting in octaves, and the later
contrapuntal forms slowly developed
out of the oblique and contrary motion
in certain forms of fasorganum> due to
the occasional introduction of harmonic
seconds and thirds. Though the orga-
num. was, properly, the part added below
the eantus firmitS) the term is generally
applied to all the first rude attempts at
harmonic composition, whether in 2
parts (diaphonid), 3 parts (triphonia^ the
added third part being called triplwn,
ORGEL-OVERSPUN.
141
Whence our treble), or 4 parts (tetr apho-
nia)* The examples are quoted from
(T) \&=^=^=^=-^ F 1
AMBROS, and are -of the time of Hue*
bald (A.D. 840-930):
^ ft f y~\!' r =1
i 1 1 1 1 ,
E j
Tu
pa - tris sem * pi - ter - nus
H - us.
Tu pa - tris sem - pi ter -
fi - H
(Ger.) Organ. . . OSgelgehause,
organ-case. . . Or" 'gelmetall, organ-metal.
. . Ofgelpunkt, organ-point . . . Or* gel-
register, organ-stop . . . Or'gel'wolf, ci-
phering (also Heu'leri).
Orgue (Fr.) Organ... 0. de Barbarie,
otacylindre, barrel-organ. , . 0. expres-
si f, (a), an harmonium; () swell-or-
gan. . , 0. & fercussion, a form of reed-
organ , constructed by de Provins and
Al^xandre, Paris.
Orguinette. A mechanical wind-instr.
having I or more sets of reeds } and an
exhaust-bellows ; by turning a crank
the bellows is operated, and a perforated
strip of paper attached to 2 rollers is
made to pass over the reeds, the perfo-
rations admitting wind^'to the reeds and
thus producing music.
Ornament. (It. ornamen'to; Fr. orne-
ment; Ger. Verziefrung?) A grace, em-
bellishment, . . Ornamental note* an ac-
cessory note.
Ornatamen'te, Orna'to (It) Embel-
lished, ornamented.
Orpha'rion. See Orphto'reon.
Orph6on. I. In France, a singing-society
composed of men . . . Orphtoniste, a mem-
ber of such a society. 2. A piano-
violin.
Qrpheo'reon, or -ron. A variety of cith-
er, having a flat back, and ribs with more
than one incurvation on either side.
Or'pheusharmonika (Ger.) Same as
Panharmonikon*
Oscillation. (Ger. Oscillation'^ Vi-
bration, or beating.
Osservan'za, con (It.) With care, and
attention (to the signs)... Osserva'to^
carefully observed; sti'le osservato^
strict style,
Ossi'a (It.) Or; or else; indicates an
alternative or facilitated reading (or
fingering) of a passage. (Also oppure^
wvero!)
Ostina'to (It) Obstinate. . -JBasso o., a
ground bass ; hence the use of ostinato^
substantively, as a technical term for
the incessant repetition of a theme with
a varying contrapuntal accomp.
Otez (6tez) (Fr.) Off (in organ-mus.)
Otta'va (It.) Octave. . .All'ottava (usu-
ally abbr. to 8va or 8 or #-""*), " at
the octave", an octave higher. Also
signifies, in scores, that one instr. is to
accompany another in the higher octave.
..Coirottava^ u with the octave/' i. e.
in octaves . . . 0* alia, the higher oc-
tave... 0. bassa($va basso), the lower
octave, an octave below. . . 0. rima, an
Italian strophe of 8 lines, each in the
heroic metre of n syllables, the first 6
rhyming alternately and the last 2 form-
ing a couplet.
Ottavi'na (It) i. An octave-spinet.
2. A harpsichord-stop controlling a set
of strings tuned an octave higher than
the rest.
Ottavi'no (It) The piccolo (Jta'uto
piccolo).
Ottemo'le. An octuplet.
Ottet'to (It.) An octet.
Otto'ne (It.) Brass.
Ou(Fr.) Or. (SeeOr.Vz.)
Oule (Fr.) Sound-hole.
Ouvert,-e (Fr.) Open... Accord & ?ou-
vert, a chord producetfon open strings
of stringed instr.s. . .A Kvre ouvert^ at
sight.
Ouverture (Fr.), Ouvertifre (Ger.)
Overture.
Overblow 7 . 'With wind-instr.s, to force
the wind through the tube in such a
way as to cause any of the harmonics to
sound. Metal instr.s (horn, trumpet)
are in most cases overblown ; wooden
instr.s (flute, clarinet) are overblown in
the higher octaves.
O'ver-chord. See Phone, i.
OYer*pun'. (Ger, ubtrspm'nen.) Used
142
OVERSTRING-PANTALEON.
for covend (strings), the correct tech-
nical term.
Overstring'. To arrange the strings of
a pfte. in 2 sets, so that one set lies
over and diagonally crossing the other ;
a pfte. so strung is called an overstrung
pfte. (Ger. krcusfsaitig), in contradis-
tinction to vertical*
Overtone. See Acoustics.
OVertnre. (Ger. Oiwertii're; Fr. ouver-
turt; It. ovcriu'ra , sinfoni'a?) A mus.
preludeor introduction. The first Ital-
ian opera-overtures were simple vocal
(sung) prologues, or instrumental pre-
ludes in vocal (madrigal-) style ; with
Scarlatti the overture or sinfonia as-
sumed a purely instrumental character,
and was written in three divisions (I
allegro, II slow, III vivace, presto) ;
hence the overture in sonata-form^ with
2 or 3 contrasting themes following a
short and slow introductory passage,
and repeated after a more or less ex-
tended development-section, but differ-
ing from the true sonata-form in lack-
ing the characteristic reprise before the
development. This overture in sonata-
form is the parent both of the modern
Symphony and of the Concert-overture
(a term derived from the custom of per-
forming real opera-overtures as separate
concert-pieces), in which latter the'
above form is usually adhered to. Op-
era-overtures not in this form are either
potpourris of leading mus. numbers
taken from the body of the work, or
blending themes occurring in the mu-
sical drama in the form of an independ-
ent composition, with the intention of
preparing the hearers for the coming
action ; such preludes have neither a
regular key-plan, nor any conventional
formal method of construction.
Ov'vero (It) Or. (See Ossia.)
P.
P. Abbr. of Pedal (P. or Fed.) * piano
(P) \ fpy or //A pianissimo; P. F., pi-
anoforte ;pf, (a) flu forte (louder), (b)
to forte (rather loud) ; fp fortepiano
e. loud, instantly diminishing to
soft); mf, mezzo-piano (half-soft); of
/W&(Fr., = toe); and, in Fr. organ-
music, P stands for Positif (choir-
organ).
Fadfcrlio'ne (It) Bell (of horn, tfc.)
Padova'na (It.) Same as Pavane, (Also
Padovane, Puduana^ Paduane^ etc*)
Pae'an (Gk.) A hymn* to Apollo ; a
hymn of invocation or thanksgiving to
Apollo or other help-giving god.
Pae'on (Gk,) A metrical foot of 4 syl-
lables, i long and 3 short. It has 4
forms according to the place occupied
by the long syllable; namely, first
third
' *-'), and fourth paon
Paired notes. A proposed equivalent, in
pfte.-technic, for the term double-stops
on the violin, and for the G.er. Dop'pel-
griffe; i.e. 2 parallel series of notes
played with one hand, as thirds, sixths,
and octaves.
Palalalka. See Balalaika.
PaTco (It.) A stage ; a box (theatre).
Palestri / nastil (Ger., "Palestrina-
style ".) Equiv. to a cappella style (It.
alia Palestrina).
Palettes (Fr., pi.) The white keys of
the keyboard ; opp. to feintes t the black
keys. -
Palimbac'chius. See Antibacchius and
Bacchius.
PanMeaa Pipes, (Also Pan's-pipe$ r
Syrinx!} A simple wind-instr., known
in slightly varying forms from earliest
' antiquity ; it consists of a set of gradu-
ated reeds or tubes arranged in a row
and blown by the mouth. -The Grecian
instr. usually had 7 tubes.
Pando x ra, Pandora, etc. See Bandofa.
Pan'flote (Ger.) Pandean pipes. (Also
Pansfiote^
Panharmon'icon. A variety of self-
acting orchestrion, inv. by J. N. Malzel
of Vienna in 1800.
Panmelo'dion. A keyboard instr., the
tone of which was produced by the
friction of wheels on metal bars ; inv.
by Fr, Leppich, in 1810.
Panorgue (Fr.) A miniature reed-organ
attached beneath and played by the
keyboard of a pfte. ; the combined instr.
is named a panorgue-piano* Inv. by
J. Jaulin of Paris.
PantaTeon, Pan'talon. An improved
dulcimer, inv. in 1690 by, and named
after, Pantaleon Hebenstreit; a precursor
of the pfte. It was 4 times as large as
the ordinary dulcimer, and oblong ia
shape; had 2 soundboards, as of_S
PANTALON PART-SONG.
instr.s standing close together ; was
strung on one side with steel and brass
wires, and on the other with gut ; the
2 ^wooden mallets in the player's hands
were sometimes used with the softer
face, sometimes with the harder.
Pantalon (Fr.) The first figure or move-
' ment in the old quadrille.
Pan'talonzug (Ger.) " Pantalbn-stop";
a harpsichord-stop which neutralized
the action of the damping mechanism,
and thus produced the confused effect
peculiar to the Pantalon.
Parallel. See Interval, Key, Motion.
. .ParalkFbeivegung (Ger.), parallel
(and also similar) motion. . . Parallel 'len
(Ger., pi.), (a) sliders (in the organ);
(b) consecatives...Paralkl'tonart (Gen),
a relative (major or minor) key.
Paraphrase, A transcription or re-
arrangement, of a vocal or instrumental
composition, for some other instr. or
instr.s, with more or less extended and
brilliant variations.
Parfait(Fr.) Perfect (of intervals) ; com-
plete (of cadences); true, pure (of inton-
ation); strong, accented (of beats)*
Parhyp'ate.. See Lyre I.
Soprano
Alto
Tenor
Bass
Parte (It.) i. Part...C0//0 parie, a
direction to accompanists to follow
yieldingly and discreetly the solo part
or voice. 2. A movement.
Partial stop. See Stop. . .Partial tone,
see Acoustics. . .Partial turn, see
Turn I.
Participating-tone. See Accessory.
Particular metre. See Metre.
Partimen'to (It.) A figured bass*.,
Partimenti (pl.)r exercises, generally
written on a figured bass, for training
students to read and accompany from
such a bass.
Parti'ta (It), Partie' (Ger,) I. See
Suite. 2. A set of variations.
Partiti'no (It.) A supplementary score,
appended to the body of the score when
there are too many parts for all to be
written on one page.
Partition (Fr.), Partitur' (Ger.), Par-
Parlan'do, Parlance (It.) Speaking";
a style of singing resembling recitative
in clear enunciation, the vowel-sounds
being markedly "thrown forward/'
Part, (Ger. Part, Stim'me; Tr.partie,
voix; It. par'te, vo'ce.) In concerted
music, the series of tones written
for and executed by a voice or instr.,
either as a solo or together with other
voices or instr.s of the same kind ; a
melody so performed.
Part-book. I. (Ger. Stimm'buch.') A
written or printed part for a single
performer, like those in vogue during
the 1 5th and i6th centuries. 2. (Ger.
Chor'buch.) A book of that period,
containing 4 vocal parts (sometimes
with added instrumental accomp.), not,
as at present, in score, but each on a
separate staff side by side with the
others (can'tus latera'lis), and on oppo-
site pages ; the fragments of the several
parts so corresponding, of course, that
the leaf could be turned for all at the
same time. Some were so printed, that
singers on opposite sides of the table
could read from the same open book.
The diagrams give a notion of this
peculiar arrangement :
JOU3J,
Alto ,
OUBjdog
Bass
titu'ra (Lat. and It.) A partition,
score. . .Partitura cancettafta, a system
of staves scored (hence Engl Score) by
the vertical lines of the bars drawn from
top to bottom.,
Part-music. Concerted or harmonized
music; a term, properly applied to vocal
music of this description, (See Part-
son^ *
Part-singing;. The singing of part-
music; as generally understood,, with-
out instrumental accomp.
Part-song. A composition for at least
3 voices in harmony, without accomp*
[and for equal or mixed voices]. The
first requisite of the music is well-defined
rhythm, and the second unyielding
homophony.. .Tunefulness in the upper
part or melocjy is desirable, and the
attention should not be withdrawn by
elaborate devices of an imitative or con-
trapuntal nature in the harmonic sub-
144
PART-WRITING-PASTORAL.
structure. . .The part-song being essen-
tially a melody with choral harmony,
the upper part is in one sense the most
important. , .The words may be either
amatory, heroic, patriotic, didactic, or
even quasi-sacred in character... The
part-song. ..is one of three forms of
secular unaccompanied choral music,
the others being the madrigal, and the
glee... Like the madrigal and unlike
the glee, the number of voices to each
part may be multiplied within reason-
able limits. [GROVE,]
Part-writing. The art and practice of
counterpoint.
Pas (Fr., noun.} A step ; also, a solo
dance in a ballet... /W de deux, a
^ dance performed by 2 dancers... Pas
redoublf^ quickstep... Pas seul^ a solo
dance. , .(Adverb.) -Not; as pas trop
ltnt y not too slow.
Paspy. See Passepied.
Passaca'glia, or -elio (It,; Fr. fassa-
caille; Ger. Gas r senhauer.) An old
Italian dance in triple time and stately
rnovemen^ written on a ground bass of
4 measures, whose theme sometimes
' appears in a higher part. It was always
in minor, and is hardly distinguishable,
as an instrumental piece, from the
Ciaccona.
Passacaille (Fr.) Passacaglia.
Passage, I. A portion or section of
a piece, usually short. 2. A rapid
repeated figure, either ascending or
descending. A ^a/^-passage is usually
called a run. . . Notes dt passage (Fr.),
grace-notes.
Passag'gio (It) Passage I. 2. A mod-
ulation. 3. A flourish or bravura em-
bellishment, either vocal or instru-
mental.
Passamez'zo (It.) An old Italian dance
in duple time, and similar to the Pavane
except in having a more rapid move-
ment.
Passant (Fr.) Slide (of bow)/
Passepied (Fr.) Apaspy, an old French
dance in 3-8 or 6-8 time, generally
beginning with an eighth-note on the
weak beat, and having 3 or 4 reprises
in an even number of measures, the
third reprise being short, and sportive
or toying; like the minuet in movement,
but quicker.
Passing-noteSj-tones. Notes or tones
foreign to the chords which they accora- 1
pany, and passing by steps from one
chord to another. They differ from
suspensions in not being prepared, and
in entering (usually) on an unaccented
beat.
Passion, Passion-music. A musical
setting of a text descriptive of Christ's
sufferings and death (passion). Its be-
ginnings are traceable back to the 4th
century; the oldest music extant is a
solemn plain-song melody of uncertain
date (can'ius passio'nis). In a quasi-
dramatic form the passion is of later
origin ; and possibly directly derived
from the ancient custom of chanting
the scriptural text of the passion, dur-
ing passion-week, to Gregorian melo-
dies. It is certain, that from early
in the I3th century (i) tHe words spoken
by Christ, (2) the connecting narrative,
and (3) the exclamations of the apostles,
the populace, the high priest, etc., were
recited by 3 different singers (imperson-
ating Christ^ the Evangelist, the Dis-
dples, etc.) The evolution of the Pas-
sion as an art-form is, after the 1 6th
century, nearly parallel with that of the
Oratorio (which see) ; from its resem-
blance to the latter it is sometimes styled
* ' passion-oratorio ". It differs from it
however, by a distinct infusion of an
element of pious contemplation, and
subjective emotion, expressed *'ii hymns
of praise and choral songs, devotional
arias and choruses. The crowning work
of this kind is Bach's " Mattha'uspas-
sion " (Passion according to St. Mat-
thew). The full dramatic form of the
Passion, with stage-setting and dramatic
action, still survives in the German
Passion-plays at Oberammergau.
Passionatamen'te (It.) Passionately,
in an impassioned style. . .Passiona'to?
a } passionate, impassioned. . .Passio'ne^
passion, fervent emotion; con f.^ same
as appassionato.
PassionnS (Fr.) Passionato.
Pastic'cio (It), Pastiche (Fr.) Amus.
medley or olio consisting of extracts
(songs, arias, recitatives) from different
works, pieced together and provided
with new words so as to form a " new "
composition, as an opera (Ger. Flick-
oper), etc.
Pastoral. (It. and Fr. pattorefk) i.
A scenic cantata representing pastoral
or idyllic life ; a pastoral opera. 2. An
instrumental composition imitating in
'style and instrumentation rural and
PASTORITA PEDAL.
145
idyllic scenes. Pastoral organ-point,
see Organ-point*
Pastori'ta. See Nachthorn.
Pastourelle (Fr.) i. A bucolic song, as
sung by the troubadours. 2. A figure
in the quadrille.
Pateticamen'te (It.), Pathe*tiquement
(Fr.) Pathetically... /W/zV<? (It.),
patk/tique (Fr.), pathetic.
Patimen'to (It.) Suffering, grief ; con
espressio'ne di p., with mournful or
plaintive expression.
Patouille (Fr.) Same as Claquebois.
Patte (Fr., "paw".) i. A music-pen
2. 2. A special key on the clarinet.
Paulce (Ger.) Kettledrum. . .Maschinen-
pauke, seeMasMnen.
Pa'usa (It.) A rest ; a pause.
Pause, i. A rest.-^2. A hold (^) 3.
(Fr.) A whole rest, semibreve-rest,
Pav'anj-e. A stately dance of Italian
or Spanish origin, in slow tempo and
alla-breve time. [Probably of Italian
origin, the It. pava'na (abbr. of pado-
va'na) referring to a peasant-dance of
the province of Padua.]
Paventa'to (It.) Afraid, fearful
Pavilion (Fr.) Bell (of a wind-instr).
. .P. chinois, a crescent. . .Flute & p,,
an organ-stop, the pipes of which have
a flaring top ... Pavilion en fair, * * turn
the bell upwards " ; a direction to horn-
players, >
Peal. i. See Chang* 3. 2. A chime of
bells ; a carillon.
Pearly. (Ger. per' lend; Fr. perle 1 ^ In
piano-technic, a style of touch produc-
ing a clear, round, and smooth effect of
tone, especially in scale-passages ("like
a string of pearls "),
Pedal. (Ger. Pedal'; Fr. ptdak; It
peda'le.) I. A foot-key; opp. to digi-
tal (see Organ and Pedal-piano). 2. A
foot-lever ; as the swell-pedal of the
organ, the loud and soft pedals of the
pfte., or the pedals of the harp. 3. A
treadle, as those used for blowing the
reed-organ, etc. 4. A stop-knob or
lever controlled by the foot, as a cora-
' bination-pedal in the organ. 5. Con-
traction of Pedal-point. Pedal-action,
the entire mechanism directly connected
with a pedal or set of pedals. . .-Pedal-
check, a bar under the organ-pedals
which can be so adjusted (often by a
stop-knob) as to prevent them from
being depressed. . .Ptdal-eoupkr, set
Coupler... Pedal-keyboard, the organ-
pedals (see Organ)... Pedal-note, see
Pedal-tone. ..Pedal-organ, the set of
stops (partial organ) controlled by the
pedal-keyboard in playing. ..Pedal-pi-
ano, a pfte. provided with a pedalier. . .
Pedal-pipe ', -soundboard, -stop, one be-
longing to the pedal-organ... ./Wd/,
point, see Organ-point. . .Pedal-tone, a
sustained or continuously repeated tone.
. . Combination-pedal, a metal foot-lever
placed above the pedal-keyboard of an
organ, and giving the player control
over a certain combination of stops.
It is single-acting when it only draws
out new stops in addition to- those al-
ready drawn, or pushes in some of the
latter ; and double-acting, when it -al-
ways produces the same combination,
whatever stops were or were not pre-
viously drawn. Comb.-pedals are of 3
kinds: (i) The forte pedal, drawing
all the stops of its keyboard ; (2) the
mezzo pedal, drawing the chief 8-foot
and 4-foot stops of its keyboard ; and
(3) the piano pedal, pushing in all but a
few of the softest stops. , * Composition*
pedal, a combination-pedal ... Coupler-
pedal, see Pedal-coupler.. .Crescendo-
pedal, a pedal mechanism drawing all
the stops successively up to "full or-
gan''. (Also, occasional for swell-
pedal.) . . .Damper-pedal, the right pfte.*
pedal, on depressing which the dampers
are raised from the strings. ..Dimin-
uendo-pedal, the reverse of crescendo-
pedal, retiring successively the stops
drawn by the latter. . .Extension-pedal,
see Loud pedal. . . Harp-pedal, same as
soft pedal . . . Loud or open pedal, the
damper-pedal on the ^.^..Octave-
pedal (A. B. Chase Co.'s, for pfte.),
acts, when depressed, in such a way
that when a key is struck, the higher oc-
tave of the tone is also sounded. (Usu-
ally Octavo attachment^... Prolonga-
tion-pedal, see Sustaining-pedal.. .Re-
versible pedal, a pedal-coupler. . . Sfor-
zando-pedal, a pedal in the organ which
brings out the full power of the instr.
for the production of a sudden and for-
cible accent. . . Soft pedal, the left pedal
of the pfte. . . Sustaining-pedal, a piano-
pedal acfmg to hold up any dampers al-
ready raised by the damper-pedal, by
this means prolonging the tone of all
strings affected... Swell-pedal, a foot-
lever in the organ r by depressing which
the shutters of the swell-box can be
146
PDALE PEU A PEU.
- opened ; they close when the pedal
is released. Balance swell-pedal, the
modem form of organ, swell-pedal : a
lever in the shape of an iron plate made
to fit the shoe-sole, and placed above
the centre of the pedal board. Depres-
sion of the toe-end of the plate opens
the swell-shutters; depression of the
heel-end closes them. Called balance
s.-p. because it remains at rest (bal-
anced) wherever the foot leaves it.
Pdak(Fr.) "i. A pedal-key, the pedal-
keyboard being clavier des ptdales. 2.
Pedal (of the pfte.) ; petite ptdale, soft
pedal, "una corda". 3, A pedal-
point.
Peda'le dop'pio (It.) Same as Doppio
pedale.
Pedal'fltigel (Ger.) A grand piano pro-
vided with a pedalier.
Pexi'alier. (Fr. f/dalier.) A set of
pedals, either (i) so adjusted as to play
the low octaves of the pfte. after the
manner of organ-pedals, or (2) provided
with separate strings and action, to be
placed underneath the pfte. and played
with, but not affecting the action of, the
latter. (Sometimes Pedalion^
Pedalie'ra (It) A pedal-keyboard.
Pedallclaviatur (Ger.) A pedal-key-
board ; either a pedalier, or for the
organ.
Peg. i. (Ger. WiSbel; Fr. chemlle; It.
bi'schero.) In the violin, etc., one of
the movable wooden pins set in the
head, and used to tighten or slacken the
tension of the strings... Peg-box, the
hollow part of a violin-head in which
the pegs are inserted. 2. A tuning-pin.
Pejonant, Same as Hook.
Pensieroso (It.) Pensive, contempla-
tive, thoughtful
Pentachord, i. A 5-stringed instr. 2.
A diatonic series of 5 tones.
Pentam'eter. A form of dactylic verse,
differing from the hexameter by the
ellipsis of the second half of the 3rd
and 6th feet :
Pentatone. An interval embracing 5
whole tones ; an augmented sixth . , .
Pentaton'ic, having, or consisting of, 5
tones ; pentatonic scale, see Scale.
Per (It.) For, by, from, in, through. . .
Per ?or*gano, for the organ. . .Per il
Jlauto s0& t for solo flute.
Percussion, i. The striking or sound-
ing of a dissonance, contradistinguished
from its preparation and resolution. 2.
The act of percussing, or striking one
body against another. The instruments
of percussion are the various drums,
the tambourine, cymbals, bells, triangle,
etc., and the dulcimer and pianoforte.
..Percussion-stop^ a reed-organ stop
used to strike the reed a smart blow
simultaneously with sounding it, thus
rendering -its vibration prompter and
stronger.
Percussive. An instr. of percussion.
Perden'do, Perden'dosi (It.) Dying
away j morendo or diminuendo, to-
gether (in modern music) with a slight
rallentando.
Perdu'na. Bourdon (organ-stop).
Perfect. (Ger. rein; Fr. parfait; It.
perfet'to?) See Interval.
Perfection, i. See Notation, 3. 2.
In ligatures, the presence of a longa as
final note (ul'tima), which occurred
when a higher penultimate note was
not joined with the final as a figura
obliqua ( K ), or when, after a lower
penultimate note, the final took a de-
scending tail to the right (since the I5th
century j from the I2th to the 'i 4th
this tail signified a plica, and to secure
the perfection of the final note it was
written vertically over the penultimate).
(See Figura, obliqua, ex. in black notes ;
also Notation, 3.)
PSrigourdine u (Fr.) An old Flemish
dance in 6-8 time.
Period. See Form.
Perle* (Fr.), Per'iend (Ger.) Pearly.
Perpe'tuo (It.) Perpetual ; infinite.
Pes (Lat., "foot".) An harmonic ac-
comp. or ground bass to a round, the
round itself being called rota.
Pesarrte (It.) Heavy, ponderous \ calls
for a firm and vigorous execution of the
passages so marked.
Petite (Fr.) Small . . . Petite flute, the
piccolo. . .Petite mesure a deux temps \
2-4 time. . .Petites notes, grace-notes. . .
Petite p Mate, soft pedal.
Pet 7 to (It.) The chest. . .Di petto, from
the chest h i. e. in a natural voice, not
falsetto. . . Voce di petto, chest-voice.
Peu a' peu (Fr.) Little by little, grad-
a little,
PEZZO^PHONE.
147
Pez'zo (It.) r. A piece. . .Pezzt concer-
tan'ti, concerted -pieces. 2. A number
(of an opera, etc.)
Pfei'fe (Ger.) A pipe ; specifically, an
organ-pipe. The technical name of the
i-foot stops is -pfeife, as Bau'ernpfeife.
Phantasie' (Ger.) Fancy, imagination.
. .Phantasie' stuck-, a fantasia ; in mod-
era music, a short piece of a romantic
and intensely subjective cast, without
distinctive formal structure. .. Phan-
tasie' ren, 'to improvise. . .Phantasier*-
maschine, any kind of melograph.
Philomele. See Bow-zither^ under
Zither.
Phonau'tograph. An electric music-
recorder for keyboard instr.s, inv. by
Fenby, in which a stud attached under
each key makes an electric connection
when the key is depressed, and thus
marks, on paper, lines corresponding in
length to the duration of f the notes. . .
Another, inv. by the Abbe Moigno, re-
cords the tones (sounded or sung) by
the aid of a pencil fitted to a sort of
drum, the membrane of which vibrates
to the tones.
Phone. i. It forms no part of a com-
piler's work to introduce new words on
his personal responsibility ; but the
terms "tone", "clang", and "sound"
being already appropriated, a distinctive
and exact equivalent had to be em-
ployed in rendering the German
" Klang" as used in modern musical
theory. The Greek word favq, in the
English form phone, appeared to be
a fairly acceptable neologism. k.phone,
then, will be understood as signifying
not only a tone with its overtones and
undertones (Tyndali's "clang"), but
specifically the major triad (generator
and higher partials [2] 3 [4] and 5) or
over-phone r , and the minor triad (gener-
ator and lower partials [2] 3 [4] and 5)
or under-phone. [N.B. Over-phone
and under-phone are also called over-
chord and under-chord respectively.
In the subjoined statement of the
modern theory of chords, RIEMANN is
followed,]
2. There can be no doubt, that the
consonance of the major triad (major
consonance) is referable to the series of
higher partials (see Acoustics), i. e.that
a major triad, however the tones maybe
set or inverted, is to be conceived as a
consonance in which certain higher
partials of the 'root are reinforced by
actual tones. E. g. ,
Moreover, the generator accompanying
each phone represented above, is always
present as a resultant tone. But the
series of partials not only completes
itself downwards to the generator by
means of the resultant tones, but con-
tinues itself upwards by the aid of the
upper partials of the primary overtones.
Those overtones, above the 8th, which
are represented by composite numbers
(9=3 x 3, 15=3 x 5, etc.), are conceived
as overtones of overtones (secondary
overtones); i. e. as integral constituents
of the primaries (the Qth overtone as
the 3rd of the 3rd primary, the isth as
the 5th of the 3rd primary, etc,), and,
sounded as notes of an actual chord,
appear as dissonances \ that primary
overtone, whose overtones they are, has
the character of a generator ', 2 over-
phones thus being simultaneously rep-
resented. Only the ratio of the octave
(2:1) is never dissonant. Striking out
from the series of overtones the doub-
lings in the octave, there remain, to
represent the major consonance of the
over-phone, only (i) the generator, (2)
the twelfth, and (3) the fifteenth', hence,
the primitive form of the major triad is
not, properly but in
speaking, the EE __J open
triad in close Ivy jppj h a r - .
harmony: ^ mony:
The consonance of the minor triad is,
not derivable from the series of higher t
partials, but is referable to a series o| <
lower partials (undertones) diametricalfly v,
opposed to the former (comp.* ACOW&
tics\ The lower partials 1^.2, a, 4, 5?
6, 8, 10, 12, 16, etc., ' ( in fact all tones
of the lower series corresponding fcy>
lower octaves of the 1st, 3rd, and
lower partials, are constft
ents of the minor triad below |
c, of the C under-phone:
in just the same sense as the sameiii|B-
bers in the higher series are constittie$ta
f ti 16 n- j ft 5 dissonances -$0
eover-lat^jg^; hare a parallel ix-
1 phone i"J r~ planatioiu
148
PHONE.
3. PHONIC RSPRESENTATIO
(JClang'vertretung) is the peculiar sig
nificance attaching to any tone or inter
val, according as it is conceived as be
longing to a particular phone. Fo
instance, the tone C has a very differen
meaning, in the logic of progression
when conceived as tierce in the A\)
major chord, from that as tierce in th
-4-minor chord ; in the former case, i
is most closely related to ty and thej?
major chord ; in the latter, to , anc
the chords of -E-major and .E-minor
Every tone may form an integral par
of 6 different phones ; for instance, th
tone C in the C over-phone (C-majo
chord) as major root, in the F over
phone as major quint (over-quint), in
the Aj over-phone as major tierce
(over-tierce), in the C under-phone (F
minor chord) as minor root, in the G
under-phone (6-minor chord) as minoi
quint (under-quint), and finally in th<
E under-phone (A -minor chord) as mi-
nor tierce (under-tierce) :
Major chords
(read up).
Minor chords
(read down).
Whenever the tone C enters into any
other chord as a dissonant tone, or is
substituted for some chord-tone as a
suspended or altered tone, it is never-
theless always to be conceived as be-
longing to one of the above 6 phones,
i. e, to the one most nearly related in
any given case.
4. THE RELATION OF TONES IS a
modem conception, based on the affini-
ty of tones belonging to the same
phone. Tones belonging to the same
phone are directly related ; to c , for in-
stance, are directly related^,/, e, d$, a,
and fy ; f or c : g belongs to the chord of
C-major or C-minor, c : e to the chord
of C-major or ^-minor, c : d$ to the
chord of j4[>-major or /"-minor, c : a to
the chord of /'-major or.^-minor, and
c : dp to the chord of Afy -major or C-
minor. Directly related tones are con-
sonant; all other, or indirectly related,
tones are dissonant* The mutual rela-
lation of the former is more easily un-
derstood than that of the Utter, Di-
rectly related phones are (i) those simi-
lar ones (both either major or minor) in
which the phonic root of the one is di-
rectly related to the phonic root of the
other [phonic root = generator, i. e. the
fundamental tone in a major triad, or
the quint in a minor triad] ; (2) those
dissimilar ones (one major and the
other minor) of which the one is the
under-phone of some chord-tone of the
other; namely, for the major chord,
the under-phones (minor phones) of its
phonic root, quint, and tierce ; for the
minor chord, the over-phones (major
phones) of its phonic root, quint, and
tierce; to which must be added the
under-phones of the respective leading*
tones. Thus, the following chords are
directly related to the C-major chord:
(7-major, /'-major, .E-major, A \) -major,
.Ep-major, /'-minor, C-minor, Jtf-minor,
and .E-minor ; whereas, to the ^-minor
chord, are 'directly related the chords
of : jZXminpr, .E-minor, /'-minor, C#-
minor, C-minor, /$-minor, .E-major,
,4 -major, C-major, and /'-major. The
relation of the tones depending on that
of the the tonics (tonic phones), it fol-
lows, ^that any key is directly related to
C-major (or ^-minor), whose tonic is
one of the phones (chords) given above
as directly related to the chord of C-major
(or ./4 -minor).
5. PHONIC PROGRESSION (Klang-
folge) is the progression between two
chords with reference to their signifi-
cance as phones. 'The ordinary method
of marking the phones (major and mi-
nor triads) b> the Roman numerals I,
II, III, IV, etc. (comp. Chord) is
inadequate from the standpoint of free
tonality; e.g. this'passage:
etc.
C:I
/:V III
V 7
is hardly intelligible with such a figur-
ing ; although it in no way signifies a
modulation into another key, one must
perforce consider the /4|7-chord as in
/-minor, and the .ZXchord as in -ma-
jor. For such progressions, a figuring
with reference to a scale is simply im-
possible ; they are referable to free to-
nality, an idea but recently recognized,
whose scope extends fat beyond the
bounds of diatonic harmony. Tonality
PHONIKON-PHYSHARMONICA.
149
knows neither diatonic nor foreign
chords, but only a tonic phone and ref-
erable (related) phones. In the above
example, the'C-major triad is through-
out the tonic phone, to which the others
are referable ; the A\> -major chord is
its under-tierce phone, the j0-minor
chord is its second over-quint phone,
and the -major chord its over-quint
phone. The first progression (C-major
to A$ -major) reaches over to the under-
tone side; the second (^b-major to
Cr-major) springs across to the overtone
side ; the other two lead back to the
tonic phone. If we term a progression
between 2 similar phones a stride
(Schritf), and one between 2 dissimilar
phones a change ( WechseT], we can dis-
tinguish 4 species of phonic progression
in which the mutual relation of the
roots is a quint-relation. It is of wide-
ly different significance^ for the tonality
whether a stride from the tonic goes to
overtone side or to the undertone side ;
starting from a major chord the latter,
and from a minor chord the former \
signifies a contradiction of, or opposi-
tion to, the phonic principle ; strides or
changes to contraphones (i.e. phones
belonging to the opposite side) will be
indicated by the prefix contra. Thus (r)
the progression fromC-majorto G'-major,
or A -minor to />-minor (= E under-
phpne to A under-phone) is a simple
quint-stride ; (2) C-major to F-major, or
A -minor to -minor (E under-phone to
B under-phone) is a contraquint-stride ;
c-*g, or e-a (see 6), is a simple quint-
change j -/, or *e-b, is a contraquint-
change. In all species of phonic pro-
gression the simple changes are, like
that above, easily intelligible ; whereas
the contra-changes are much more diffi-
cult to understand. The tierce-pro-
gressions are, for example, the simple
tierce-stride c~e, or W; contratierce-
stride, c-d$ y or V #; simple tierce-
change, c-e, or t~c', contratierce-
change, c-*(fy> Any direct progression
to a remoter phone makes the want of
an (omitted) connecting link sensibly
felt ; it will be easy to modulate to such
an intermediate phone, i. e. to transfer
to it the significance of a tonic phone.
6. PHONIC FIGURING (K'lan^-
schliissel) [according to RIEMANN]. (i)
No scale-degrees are marked or taken
note of ; small letters are used to mark
the root-tones of the phones, with an
prefixed for an under-phone ; thus c =
C-major triad, c = /'-minor triad. (2)
To these letters are affixed numerals,
marking intervals added to the phones ;
not, however, counting from the bass
note, but from the phonic root ; Arabic
numerals [read up !] for over-phones
(major triads), Roman numerals [read
down !] forunder-phones (minor triads).
Thus i (I) = phonic root ; 2 (II) = ma-
jor second ; 3 (III) = major tierce ;
4 (IV) = perfect quart ; 5 (V) = per-
fect quint ; 6 (VI) = major sext ; 7
(VII) = major sept. (3) The sign <
after a numeral denotes the raising of
the interval by a semitone ; > denotes
its lowering by a semitone. Examples :
Pho'nikoa. A metal wind-instr. with a
globe-shaped bell ; inv. by B. F. Czer-
veny of K6niggratz in 1848,
Phonometer. (Fr. phonomltre^ An
instr. for recording the number of vi-
brations made by a sonorous body in *a
given length of time.
Phor'xnhix (GkJ An ancient stringed
instr. resembling the cithara or the lyra.
Phrase, i. See Form. 2. Any short
figure or passage complete in itself and
unbroken in continuity. . .Phrase-mark,
in mus. notation, a curved line con-
necting the notes of a phrase 2.
Phrasing, (Ger. Phrasie'rung, from
. p^hrasie'ren, to phrase.) i. The bring*
ing-out into proper relief of the phrases
(whether motives, figures, subjects, or
passages), both as regards their individ-
ual melodic and rhythmic characteri-
zation and their relative importance. 2.
The signs of notation devised to further
the above end.
See Mode.
Physharmon'ica, i. A small reed-
organ inv. in 1818 by Anton Hackel of
Vienna, and designed for attachment
beneath a piano-keyboard to sustain
che tones of melodies. ' It was the pre-
cursor of the harmonium. 2. (Ger.) A
free-reed stop on the organ.
150
PIACERE PIANOFORTE.
Piace're, a (It) "At pleasure";^
direction equivalent to ad libitum, sig-
nifying that the expression of the pas-
sage so marked is left to the performer's
discretion. Also marks the introduc-
tion of a cadenza. (Sometimes apiaci-
Piace'vole (It.) Pleasant, agreeable;
calls for a smooth, suave rendering,
free from forcible or passionate accents.
..Piaeevolmen'te, smoothly, suavely.
Piadmen'to (It.) Equiv. to Piacere.
Pianette. A low form of upright piano.
Piangen'do (It., "weeping, tearful.")
Wailing, plaintive. (Also piange'vole,
Piani'no (It., dimin. oi piano.) An up-
light pianoforte.
Piani'sta (It.) i. A pianist. 2. A
mechanical pianoforte.
Pia'ho(It.) t Soft, softly-(sign^)y."../ ) i-
ano pedal, the softer lef!rp"e(lal of the
rfte. + .Pianis'simo (superl. of piano),
very soft (sign // or ppp\
Pia^o. (Abbr. of Piano forte), .Bou-
doir p., a short style of grand pfte. . .
Cabinet p., an old form of upright pfte.
. . Cottage p,, see Cottage. . .Dumb p., a
j>f te.-keyboard without action or strings,
lised for silent mechanical practice.
(See Virgil Practice- Clavier.).. .Elec-
tric p. , one whose strings are set in vi-
bration by electro-magnets instead of
hammers. . . Grand p., see Pianoforte.
. . .Pedal-piano, see./W0/. . .Piccolo p.,
a small upright piano introduced by
Wornum of London in i%2q*.*Semi-
, grand p., same as Boudoir,.. Square,
Upright p., see Pianoforte*
Piano (Fr.) A pianoforte. . ,P. h archet,
piano-violin 1 .. .P. & darners rewvers/s,
a* grand pfte* having 2 keyboards, one
above the other, the ascending scale of
the upper one running from right to
left. ..P. a queue, grand pfte.; & queue
4court/e^ boudoir grand pfte... P. &
secretaire, cabinet pfte... P. carre*,
square pfte I. .A droit (oblique, a pi-
lastres, vertical), upright pfte... P.
lolien, see Anemockord. . .P. harmoni-
corde, a combined pfte. and harmonium,
ittv. by Debain. . .P. mhanique, a me-
chanical piano . . . P. muet, dumb pfte. . .
P. organise*, a pfte. with pnyshannonica-
attachment.
Pianoforte. (Gen Wavier* [in Ger.
Pianoforte usually means "square
piano "] ; Tr.piano [more rarely piano*
for tier forti-piano, very seldom/^//] ;
It. pia'no, pianoforte.) A keyboard
stringed instr, of percussion, the tones
being produced by hammers striking
the strings. The principal parts are (i)
the Frame, (2) the Soundboard, (3) the
Strings, (4) the Action, and (5) the
Pedals. According to the shape of the
case, pftes. are classed as GRAND (harp-
shaped ; Ger. Flu'gel; Fr. piano a
queue ; It. pia'no a co'da), with horizon-
tal strings and built in several sizes, as
Concert Grand, Parlor Grand, Boudoir;
SQUARE (oblong; Ger. Pianofo'rte,
or ta'felformiges Wavier*; Fr. piano
carre'; It. pianoforte a tavoli f no) with
horizontal strings ; and UPRIGHT (buf-
fet-shaped ; Ger. and It. Piani'no; Fr.
piano droit) with vertical or slanting
strings.
(i) ^The Frame is now' generally of
iron cast in one piece (Broadwdod's
pftes. form the most notable exception
to this rule), and braced with cross-bars
and trusses to resist the string-tension
which varies from about 12. up to nearly
20 tons. (2) Below the frame is the
Soundboard \ near the front end of which
is a bridge oi hard wood over which the
strings are stretched. (3) The Strings
are attached at one end by hitchpins to
the stringplate, and at the other to
wrestpins \tuning-pins) set in the wrest-
plank; they are of steel wire, the bass
strings of a steel core covered (coiled)
with copper wire ; 8 or ip of the lowest
bass tones have one string, about ij
octaves above have 2 strings, and the
remaining 5 octaves 3 strings, to each
tone ; such pairs of triplets of strings
to one tone are called unisons. (4)
The Action consists essentially of the
key (digital, finger-lever) ; the hopper
on the rear end of the key, raising the
hammer when the key is depressed, and
allowing the instant escape of the lat-
ter after propelling the hammer, which
can therefore immediately rebound into
position after striking the string ; the
hammer, hinged at the butt, with a slim
round shank, upon which is fixed the
head (the hammer proper) made of felt
arid sometimes covered with leather.
(5) The Pedals are 2 (sometimes 3) in
number: (a) Damper-pedal, (b) Piano
pedal, (c) Sustaining~pedal (comp. art
Pedal). .
Th idea of the key-mechanism was
derived indirectly, through the mono
PIANOGRAPH PIPE.
chord, spinet, harpsichord, and clavi-
chord, from that of the organ ; the idea
of a hammer-action (which constitutes
the essential -difference between the
Pianoforte and its precursors) was, per-
haps, derived from the dulcimer in its
perfected form the Pantalon. The
hammer-action was first practically de-
veloped by Bartolommeo Cristofori of
Padua in 1711, whose action is the
same, in essentials, as that now manu-
factured by Broadwood (English action).
Pian'ograph. A form of music-recorder.
Piano-harp. See Klaviaturharft.
Piano-organ. Same as Handle-piano.
Piano-violin. (Ger. Bo'genflilgel, Gei f -
gewwerk; Fr. piano a archet, piano-
quatuorl) The English name covers
the results of a long series of experi-
ments, and of improvements of the
hurdy-gurdy, the prototype of the class.
In the Geigenwerk inv. by Heiden of
Nuremberg (about 1600) the keys, when
touched, pressed their corresponding
wire strings against small rosined
wheels made to" revolve by a treadle ;
the tone was similar to that of a bow-
instr. The Gambeniverk was made by
Risch of Ilmenau (about 1750), and
improved by the substitution of gut
strings for wires. Hohlfeld's Bogen-
Jlilgel (1754) had gut strings, beneath
which was a bow furnished with horse-
hair ; on pressing the keys, the strings
were drawn by little hooks against the
bow, whose slow or rapid movement
was controlled by a pedal-stop. C. A.
von Meyer, of Knownow, provided a
separate horsehair bow for each string
(1794), The clavecin harmonique of
Htibner (Moscow, about 1800) accu-
rately reproduced the sound of a string-
quartet. Pouleau's orchestrine was &
further improvement of the clavecin
harmonique. H. C. Baudin of Paris
invented an instr. called the piano-
quatuor\ patented in England in 1865
under the name of pia no-violin. It has
for each tone one wire string, at or
near a nodal point of which is attached
a piece of stiff catgut projecting about
an inch. Above these gut ties, a rosin-
ed roller is caused to revolve rapidly by
a treadle ; on touching the keys, these
ties are carried up against the roller,
the tones thus produced having the
timbre of tones from gut strings. The
instr. is capable of rapid execution and
articulation.
Piat'ti (It, pi.) Cymbals.
Pibroch. A set of variations for the
bagpipe on a theme called the urlar,
generally 3 'or 4 in number, and increas-
ing in difficulty and speed up to the
closing quick movement (the crean-
luidh). This is the highest and most
difficult form of bagpipe-music.
Piccanteri'a, eon (It.) With piquant,
sprightly expression.
Picchetta'to, Picchietta'to (It.) De-
tached. See Piqul.
Picco pipe. A small pipe with a flageo-
let-mouthpiece, and 3 ventages, 2 above
and I below ; named after the Italian
peasant Picco, whose extraordinary
virtuosity on his instr. introduced it to
the general public (London, 1856), and
who obtained from- it a compass of 3
octaves.
Pic'colo. (It. flafuto piccolo; Fr. petit*
Jlute; Ger. Oktai/Jldte, Pick'elflote.}
The octave-flute. See Flute.
Pic'colo (It.) Small . . . Used as a noun,
equiv. to (i) Flauto piccolo^ and (2)
Piano piccolo ', a small style of upright
pfte.
Pick (verb). To pluck or twang (as the
strings of a guitar, mandolin, etc.) ;
(noun), a plectrum.
Piece, i. A composition, 2. An in-
strument, taken as a member of an
orchestra or band (usually in pi.)
Piece (Fr.) A piece (ordinarily of in-
strumental music)... Suite de pieces,
a set of pieces.
Pie'no(It) i. Full. 2. Mixture-stop.
Pieto'so(It, "pitiful, moving".) Calls
for a sympathetic and expressive deliv-
ery; nearly same as espressivo*
Piffera'ro (It.) A player on the piffero.
Pif'fero (It., dimin. piferi'no) i. A
fife ; also, the name of a primitive kind
of pboe or shawm. 2. An organ-stop
(see Bifara).
Fikie'ren,(Ger.) Same as /^aw-. See
Piyul.
PinceXFr., "pinched".) i. Plucked 01
twanged, as the strings of the harp,
zither, etc. 2. Pizzicato (in violin*
playing). 3 (noun). A mordent ; sign
'or dp.*.Pince'etoufft, acciaccatura ;
pinclrenverst, inverted mordent
Pipe. I* A primitive wind-instr., a rude
flageolet or oboe,-r2. An organ-pipe.
(Ger. OSgelpfeife; Fr, tuyau d\orgut\
PIPE-METAL-PITCH.
It. can'na dWgano.) (a) FLUE-PIPES
are those in which the tone is produced
by the vibration of a column of air
within a tube or t4 body ", the vibration
being set up by an air-current forced
through a narrow aperture and imping-
ing: on a sharp edge. A flue-pipe may
be of metal or wood ; the part resting
on the pipe-rack is the./W, which is di-
vided from the body by an aperture in
front called fasmouth, having an upper
and a lower lip, and ears on either
side ; within the mouth a projecting
shelf or ledge called the block (when
thick) or language (when thin) deflects
the wind rushing through the foot,
forming below a channel called the
throat, and above (between language
and lower lip) a narrow passage called the
windway; the wind passing out of the
latter impinges on the sharp edge of the
aaf (bevelled portion of the upper lij)),
settingtheair-column within the body in
vibration and thus producing a tone.
The body of an open metal pipe is pro-
vided at the top with flaps called timers,
that of a wooden pipe with small mov-
able wooden boards, by adjusting which
the pipes can be tuned ("voiced").
Flue-pipes are open or covered (stop-
ped, plugged) ; an open pipe produces a
tone proportioned in pitch to the length
of the body, hence the terms 8-foot tone,
i6-foot tone, etc. (Compare Harmonic
stop.) A stopped pipe yields a tone an
octave lower than an open pipe of like
length. () REED-PIPES are those in
which the tone is produced by a reed ;
the tone may be modified in quality,
but not in pitch, by the shape and size
of the body or tube. A reed-pipe has
a boot (corresponding to the foot of a
flue-pipe), within which is the block, a
circular plate of metal with 2 apertures,
one holding the tuning-wire and the
other the reed. A reed consists of 2
parts, a metal tube (called the shallot)
of conical form, widest below, with a
lengthwise opening along one side cov-
ered by the tongue (the vibrating reed
proper), an elastic strip of metal made
fast at the top, but free below to vi-
brate ; >cross its upper portion passes
the bent end of the tuning-wire, which
can be raised or lowered so as to allow
a longer or shorter part of the tongue
to vibrate, and thus alter the pitch.
The tube is fixed above the block, and
may be of metal or wood, and in very
various forms.
Pipe-metal. The metal of which, the
metallic flue-pipes in the organ are
made ; generally an alloy of tin and
lead, the tone improving as the propor-
tion of tin increases. Pure tin, lead,
or zinc, or all 3 in varying proportions,
have also been used.
Pipe-organ. See Organ,
Pique (Fr.) Peg or standard of a 'cello.
Pique* (Fr.) In violin-playing, the mezzo-
staccato called for by a slur with stac-
cato dots, notes so marked to be played
in one \><w(picchietta f to) t . .Piquer, to
execute picchiettato*
Pirolino (It.) Button (on violin, etc.)
Piston. See Valve.
Piston-Solo (Ger.) Solo for the cornet
a pistons.
Pitch. (Ger. Ton'kohe; Fr. hauteur du
ton; It. diapason) The position of a
tone in the* musical scale. Pitch is rel-
ative, or absolute. The relative pitch
of a tone is its position (higher or lower)
as compared with some other tone*. (See
Interval) Its absolute pitch is its fixed
position in the entire range of musical
tones.
Ji. For ordinary purposes the mus.
e is divided, to indicate absolute
pitch, into a fixed series of octaves,
which are named and lettered, in Eng-
lish usage, as follows :
NAMES OF THE OCTAVES IN ABSOLUTE PITCH.
Double contra-octavc (33-
foot octave, organ)
Cj Dj Ej FQ Gj A] BJJ
C6ntra-octave (i6-foot
oct.)
( G! D! Ej FI G! A! B 1(
First octave
(Great octave)
(8-foot oct.)
C D E F G A B
-. ap ,a> ^ I -. & & & i :'*, -. & rst
^-er**- ** " : ^ iy ** ** : & &** &
PITCH.
153
Second octave
{Small octave)
(4-foot oct.)
Third octave
(One-lined oct.)
(2- foot oct.)
Fourth octave
(2-lined oct.)
(i-foot oct.)
c j d i e i
JL|.
NOTE. The double contra-octave is often written CCC^ DDD, etc., and the contra-octave
CC> DD, etc. ; also, instead of small figures, accents or lines are employed to mark the letters, as
C,, D,, or C D for C 3 D a etc.; c' d', or c d, for c l d* etc.;-c" d", or c d, for c a d a etc.^-hcrice
the terms one-lined octave, two-lined octave, and once-accented octave, twice-accented octave, etc.
- one tierce to e; in the former case E,
as the third of C, is a quint-tone > whereas
in the latter case it is a tierce-tone, the
difference in pitch being noted by a line
under the tierce-tone E, signifying that
it is lower than the quint-tone E by a
syntonic comma (80 : 81). This syn-
tonic comma represents the ratio be-
tween the Pythagorean tierce of C (=E,
the fourth quint), and the major tierce
of C (=E) of just intonation (E; E : :
80 : 81); for every tierce-skip taken up-
ward, a line is added below the letter,
and for every tierce-skip downward, a
line is added above the letter ; showing
by how many commas the tierce-tone
obtained is lower or higher than the
corresponding quint-tone.
2. For scientific purposes, and to
ascertain the relative pitch of the tones
of the scale, the above system is modi-
fied, C being retained as the starting-
point or standard tone, while the dis-
tinction between lower and higher
octaves is disregarded, and lines (in
this case not marking different octaves)
are drawn above or below the letters to
distinguish between Quint-tones (i. e.
tones whose relative pitch is determined
by reaching them through ascending or
descending, from the standard tone C t
by skips of successive perfect fifths),
and Tierce-tone$$* e. tones determined
by^ reaching them through skips of major
thirds). For instance, the tone e may
be reached either as the fourth quint
above C (C-G-D-A-E), or by ascending
Table (after RIEMANN).
Is
cro
tf f 3
3d
ad tierce a
tst tierce above.
*th
tierce 2
tbove.
tierce
ibove.
ibove
g* ,
dx
ax
ex
bx
B
=
=
1
fx
ex
g*
dx
b
1
_1
J
J*
4
J
J
v c
g
d
a
e
b
*
4
8*
at>
eb
*
f
C
g
d
a
e
*
5
S
db
^b
efr
*
7
ist tie
rce belc
*b
*
*
W
"fb
T
~lb
2dtie
i
f
f
gbb
i
abb
3d tierce below.
PITCH-PIPE-PLAISANTBR1E.
In this Table each skip horizontally is
a quint-skip, and each skip vertically is
a tierce-skip ; the major triads are
c
grouped thus, -r jr and the minor
c g
triads thus -T-
I7
In just intonation the major scale would
be represented thus :
CDEF GABc
and its parallel minor scale thus :
CDEbFGAJjBc
3. The absolute pitch of a tone is
determined by the number of vibrations
it makes per second, and is stated
as a Mration-numbtr. The standard
French pitch^ universally adopted in
France m 1859, gives the tone a 1 435
(double) vibrations per second, hav-
ing 522. Formerly there was no recog-
nized standard, the pitch varying in
different instr.s (organs) and localities
, by as much as a fourth. The incon-
Teniences resulting led to the establish-
ment, early in the I7th century, of a
mean pitch (a 1 averaging about 420 vi-
brations), which held its own for some
200 years; this has been called the
classical fitch, it having obtained
throughout the era of classical compo-
sition. After this, the growing tendency
to force the pitch upwards led to nu-
merous deliberations by scientists and
musicians; the German congress at
Stuttgart adopted the pitch a 1 = 440 ;
but the French pitch mentioned above
is, in point of fact, the only real stand-
ard, and, since its formal adoption by
the Vienna Congress in Nov., 1887, is
frequently termed the international
fitch. It is called low fitch, as opposed
to the high fitch (concert-pitch) in vogue
till lately in concerts and operatic per-
formances. Theso-called/f'&^&Ya/
standard of fitch is obtained by taking,
for Middle- C, the nearest power of 2,
giving 256 vibrations for c\ and nearly
427 for a 1 ; it has frequently served as
a basis in theoretical calculations.
Pitch-pipe. A small metal or wooden
reed-pipe producing, when blown, one
or more tones of fixed pitch, according
to which an instr. may be tuned, or the
correct pitch ascertained for the per-
formance of a piece of music.
Fifc (It) More. When Pit stands alone
AS a tempo-mark, mosso is implied*
Pi'va (It.) i. A bagpipe. 2. A piece
imitative of bagpipe-music.
Pizzica'to (It, "pinched".) Plucked
with the finger ; a direction, in music
for bow-instr.s, to play the notes so
marked by plucking the strings. The
succeeding direction coll 'arco (with the
bow) indicates the resumption of the
bow for playing. (Abbr. fizz.)
Pladdamen'te fit.) Tranquilly, smooth-
ly; IxQx&flafddo, placid, tranquil.
Pla'cito(It) Pleasure... A be*ne flacito,
at (the performer's) pleasure ; means
that the tempo may be altered, graces
or cadenzas added, or that certain
specified instr.s may be used or not, as
fancy may dictate.
Plagal cadence, mode, see Cadence,
Mode...Plagal melody, one whose range
extends about a fourth below and a
fifth above its tonic or final. Plagal is
opp. to Authentic in all senses.
Plain chant, Plain song. (Lat. can'-
tus flafnus, cantus^ choraflis) The
unisonous vocal music of the Christian
Church, probably dating from the first
centuries of the Christian era, the style
being still obligatory in the R. C. ritual.
Handed down at the beginning by oral
tradition, it was first regulated by St.
Ambrose (see Ambrosmn chanf), and
later revised by St. Gregory (Gregorian
chant), The comparatively modern
name cantus flanus distinguished this
style from that of the strictly rhythmical
cantus mensura'bilisi which originated
early in, the I2th century, after which
period plain chant, began to be sung in
notes of equal length; in its earlier
form, however, the tone-values of plain
chant were determined by rules very
similar to those for poetical metre.
Just as a poem consists of lines, the
lines of feet, and the feet of 2 or more
syllables, a melody was divided into so-
called distinctions consisting of a more
or less extended group of neumes
(notes), a distinction being in turn
divided into single neumes (single notes),
each neume," finally, representing one
or more tones. Thus a metrical line
corresponded to a musical distinction,
a metrical foot to a musical neume, and
a syllable to a tone. (Comp. Notation^
30
Plainte(Fr.) A lament.
Plaisanterie (Fr.) A divertissement for
harpsichord or clavichord
PLANCHETTE-POLYPHONY.
155
Planchettc. i. A board studded with
pins or pegs, an essential part of the
mechanism of the piano m&anique. 2.
See Pianista 2.
Plantation. In the organ, the dispo-
sition or arrangement on the soundboard
of the pipes composing a stop.
Plaque* (Fr.) Struck at once; as un
accord plaqud, a * 4 solid " chord ; opp.
to arptgt, arpeggio'd, broken.
'Plec'trum (Lat.; Gk. ptecfron.) A small
piece of ivory, tortoise-shell, or metal,
held between the forefinger and thumb,
or fitting to the latter by a ring, and
used in playing certain instr.s to pluck
or twang the strings (mandolin, zither ;
the zither-plectrum is called the * 'ring").
Plcin-jeu (Fr.) i. A stop or combination
of stops bringing out the full power of
the organ, harmonium, etc. 2. Same
as Pourniture.
Pli'ca (Lat.) One of the neumes.
Plus(Fr.) More.
Pneu'ma (Gk. "breath".) The long
coloratura or vocalise on the last syllable
of the Alleluia (early Christian Church),
so called because taxing the singers'
lungs; a jubilation.
Pneumatic action. See Organ . . . Pneu-
matic. organ, the ordinary pipe-organ,
as contradistinguished from the early
hydraulic organ.
Pochette (Fr.) A kit
Po'co (It.; superl. pochis'simo; dimin.
pocJutti'no, packer to; abbr. po\) A
little. ..Poco a poco, little by little,
gradually, . . Poco allegro \ rather fast ;
poco largo, rather slow.
Poggia'to (It.) Leaned or dwelt upon.
Po'i (It.) Then, thereafter.
Point. I. See Notation, 3. 2, A dot,
3. A staccato-mark. 4. The attack
by, or entrance of, an instrumental or
vocar part bringing in a prominent
motive or theme, 5. Head (of a bow).
Point (Fr.) A dot (point d* augmentation).
. .Point tfarrtt, de repos, a hold (o).
.. Point 'final, final pause... Point
Morgue \ (a) a hold ; (b) an organ-point ;
(c) a solo cadenza or flourish. . .Points
dtiack/Si staccato-dots. . .Pointsur ttte^
dot above (or below) the head of a note.
Pointe(Fr.) I. Point or head (of a bow).
2. Toe (in organ playing ; abbr. //
tp = talon point*; Engl. h t = heel
toe, but compare Signs '[0 vj).
Points (Fr.) Dotted.
Pointer (Fr.) i. To dot. 2. To ex-
ecute staccato.
Poitrine (Fr.) Chest; voix de p., chest-
voice.
Polac'ca (It.) Polonaise... Alia p, in
the style of a polonaise.
Polichinelle (Fr.) A grotesque clo|-
dance; also, the tune to which it is
performed.
Polka. (Bohemian pulka.) A lively
round dance in 2-4 time, originating
about 1830 as a peasant-dance in Bo-
hemia.. .Polka-mazurka, a form of
mazurka accommodated to the steps of
the polka.
Polonaise (Fr.; Gen Polonafse; It. po-
latfca^ A dance of Polish origin, in 3-
4 time and moderate tempo, formerly in
animated processional form, but in the
modern ball-room merely a slow open-
ing promenade, supplanting the old
Entree. The rhythm is characterized
by the commencement on the strong beat
with a sharp accent STrTpH
and by the close on the last beat
tsrf H-
Polska. A Swedish dance in triple time,
somewhat like the Scotch reel, and
generally in minor.
Polychord. ("Having many chords
[strings]".) An instr. in the shape of
a bass viol, with movable fingerboard
and 10 gut strings ; played either with
a bow or by plucking with the fingers.
Inv. by Fr. Hillmer of Berlin, first half
of 'igth century. It never became pop-
ular. '
Polymorphous. Having, or capable of
assuming, many forms ...P. counter-
point, a style of contrapuntal c&npo-
sition admitting of a manifold variation
of the theme (as in the fugue by inver-
- siori, augmentation, diminution, etc.)
Polyphon'k. i. Consisting of 2 or
' more independently treated parts ;
contrapuntal ; concerted ; opp. to fo-
mophonic and frarmonic. 2. Capable
of producing 2 or more tones simulta-
neously, as the pianoforte, harp, or or*
gan ; opp. to monofhonous, and equiv-
alent \Qpolyphonou$.
Polyphony. In mus. composition, the
combination in harmonious progression
of 2 or more independent parts (as opp.
POMMER PRECENTOR.
to ffomophony) ; the independent treat-
ment of the parts (as opp. to Harmony) ;
counterpoint in the widest sense ;
concerted music. (Also pron. polyph-
ony.)
Pora'mer (Ger.) See Bombard.
Pompe (Fr.) A tuning-slide (in the trom-
bone, horn, and various other instr.s).
Pompo'so (It.) Pompous, majestic, &\g-
r&fa&...Pomposamen'te, in a broad
and dignified style.
Ponctuation(Fr.) Phrasing. . .Ponctuer,
to phrase.
Pondero'so (It,) Ponderous, heavy,
very strongly marked.
Ponticel'lo (It.) i. The bridge of bow-
instr.s. ,,Sulp t , near the bridge ; a di-
rection to play near the bridge, the
tones resulting having a more or less
strident and metallic sound; abbr. j,
mt.\ opp. tosultasto. 2. The break
in the voice.
Pont-neuf (Fr.) Generic title for popular
street-songs in Paris.
Portamento (It; equiv. to portal la
voce, to carry the voice ; see Port de
VMJC.) A smooth gliding from one
tone to another ; an effect attained in
great perfection on bow-instr.s, the
melody-strings of the zither, and with
the human voice. It differs from the le-
gato not only in its more deliberate execu-
tion, but also in the actual (though very
rapid and slurring) sounding, or passing-
through the intermediate tones, with-
out a noticeable break,
or a pause on any tone, a
It may be written thus :
Portan'do (It, "carrying".) Usually
in the phrase p. la voct t carrying the
voice, i. e. portamento.
Porfeta (It.) Staff.
Portatif(Fr.) ; Portativ' (Ger.) Porta-
tive organ, i. e. a small organ conven-
. ient of transportation ; opp. to positif.
Port de voix (Fr.) i. Portamento. 2.
See Accent, Chute.
Port6e(Fr.) The staff,
Porter la voix (Fr.) See Portamento.
Portunal flute. An open wooden flue-
stop in the organ, with pipes wider at
top than at the mouth.
Portu'nen (Ger.) Bourdon (org.)
Posa'to (It.) Sedate, dignified.
Posau'ne (Ger.) i. Trombone. 2. - A
reed-stop in the organ, having metal
pipes of broad scale and 8-foot pitch
(manuals) or i6-foot pitch (pedal) ; the
32-foot stop is called the contra-posaune.
Poschet'te. Ger, form of Pochette.
Posement (Fr.) Potato.
Poser la voix (Fr.) To attack a vocal
tone with clearness and precision.
Positif (Fr.), Positiv' (Ger.) A * ' posi-
tive " or stationary organ ; opp. to for-
tatif. Also, the French term for choir-
organ ; and (in German) a small partial
organ in front of the main instr. was
often called Ruckpositiv^ because usual-
ly behind \hs organist.
Position, i. (Ger. La'ge; Fr. position;
It. posiziofne.) The place of the left
Tiand on the fingerboard of the violin,
etc.' In the istpos., the forefinger stops
the tone or semitone above the open
string; by shifting up (see Shift) so
that the 1st finger takes the place pre-
viously occupied by the 2nd, the 2nd
pos. is reached; and so on for each
succeeding position. There are n
positions in all, but only 7 are commonly
employed. The half-position is the
same as the 1st pos., except that in it
the 2nd, 3rd, and 4th fingers occupy
the places taken, in the i*t pos., by the
ist, 2nd, and 3rd fingers. 2. The
arrangement of notes in a chord with
reference to the lowest part ; in the ist,
or fundamental, position the lowest
part takes the root ; in the 2nd position
it takes the third, etc. 3. Close and
open position, see Harmony.
Possible (It.) Possible; pianissimo
fossibile, as soft as possible ; il piu
presto possibih , as rapid as possible.
Post-horn. The straight horn used by
postmen. See APPENDIX.
Post'lude. (Lat posMdium; Ger.
Nachspiel; Fr, cldture.) A concluding
voluntary on the organ, closing a
church-service.
Pot-pourri (Fr.) A musical medley, all
kinds of tunes or parts of tunes being
juxtaposed in an arbitrary manner, often
with very flimsy connecting-links.
Poule (Fr.) The 3rd movement or fig-
ure in the quadrille.
Pouss6 (Fr., " pushed ".) Up-bow.
Prach'ti (Ger., " splendid".) Grand,
majestic, dignified. (Also adverb^
Prsecen'tor (Lat.) Precentor.
PRALLTRILLER PRIMZITHER.
157
Prairtriller (Ger.) An inverted mor-
dent. (Also Pral'ler,)
Praludie'ren (Ger.) To prelude.
Prazis' (Ger.) Precise, exact.
Preamljulum (Lat.) A prelude, intro-
duction,
Precen'tor. In the Anglican Church,
a director and manager of the choir and
of the musical services in general, rank-
ing after the Dean, and sitting on the
side of the choir opposite to the latter,
whence the terms cantoris (i. e. the pre-
centor's) and decani (the Dean's) side.
Precipitan'do, Precipitatamen'te (It.)
Precipitately ; calls for a rapid and bold
execution of the figure or passage so
marked ; precipita'to (also predpito'$o\
(Fr.pre'cipite'), precipitate.
Precisio'ne, con (It.) With precision.
. .Preci'so, precise, exact.
Preghie'ra (It.) A prayer; a modern
title for certain melodious salon-pieces
of a more or less devotional character.
Prelude. (Lat. pralu'dium; It.prelu'~
dio; Fr, prelude; Ger. Vor'spiel) A
piece of music introductory or prepara-
tory to another and more extended
movement or composition, or to a dra-
matic performance, church-service, etc.
The prelude has no distinctive form or
independent character, being adapted
to what is to follow it. (Comp. Over-
ture.) The short piano-pieces by Cho-
pin, entitled '* Preludes", are anoma-
lous, not having been intended for in-
troductory pieces. An organ-prelude
to the church-service is commonly called
a voluntary.
Premier (Fr., fern, premiere.) First. . .
Premier dessus, first soprano... Pre~
mitre /ois, first time. . .A premiere vue>
at first sight. ..Premiere (noun), the
first production of a dramatic work.
Preparation. (Get*. VoSbereitung;?*.
preparation; It. preparazio'ne) The
p. of a dissonance consists in the pres-
ence, in the preceding chord and same
part, of t*he tone forming the dissonance.
(Comp. Percttssion, Counterpoint, and
Substitution.)
Prepare, i. See Preparation. 2. To
introduce by a grace-note or figure ; e.
g. a prepared trill is one prefaced by a
turn or other grace.
. Pre'sa (It.) A sign marking the succes-
sive entrance of the parts of a canon,
having various forms ('S* $ -f % etc, )
Pressan'te (It.) Accelerando, strin-
gendo.
Pressez (Fr.) Accelerando, stringendo ;
pressez un peu, poco stringendo.
Pressure-note. A note marked thus
P, indicating a sudden pressure or cre-
scendo following the attack.
Prestant (Fr.) An open flue-stop in Fr.
and Ger. organs, generally of 4-foot
pitch ; equiv. to Engl. Principal.
Prestez'za, con (It.) With rapidity (of
movement or execution).
Prestissimamen'te, Prestissimo (It.)
Very rapidly, as fast as possible.
Pres'to (It.) i. Fast, rapid ; indicates
a degree of speed above allegro and be-
low prestissimo. . .P. assa'i, very rapid.
2. A rapid movement, most frequently
concluding a composition.
Prick. In earlier terminology, the dot
or mark forming the head of a note ;
to prick meaning, to write music.
Hence, prick-son^ (a) written music,
opp. to extemporized ; (b) the counter-
point to a cantus firmits^ the point
against point,
Primary accent. The down-beat or
thesis ; the accent beginning the mea-
sure, directly following the bar . . . Pri-
mary triad, one of the 3 fundamental
triads of a key (those on the 1st, 5th,
and 4th degrees).
Prime. I. The first note of a scale. 2.
See Interval. . .Prime tone, same as
generator. 3. The 2n$ of the canon-
ical hours.
Prim'geiger (Ger.) Leader (ist violin).
Pri'mo,-a (It.) First... Pri ma buff a,
the leading female singer in comic
opera ..Prima don'qa ("first lady"),
the leading soprano singer in the opera.
. .Prima vi'sta, at first sight. . .Prima
vol'ta^ the first time \.abbr. Ima volta^
or simply I, or i.) ; indicates that the
measure or measures under its bracket
are to be played the first time, before
the repeat ; whereas, on repeating, those
marked secun'da volta (abbr. Ilda volta.
or simply II, or 2.) are to be performed
instead. Tempo primo t at the first or
former rate of speed. . .Primo uo'mo,
the first male soprano (castra'to\ or
first tenor. (Obsolete in both senses.)
Pri'mo (It., noun) A first or leading
part, as in a duet.
Prim'zither (Ger.) Treble zither.
158
PRINCIPAL-PSAUME.
Principal, I. In the organ, a flue-stop of
open metal pipes, of 4-foot pitch on the
manual, and 8-foot pitch on the pedal.
(In Ger., Principal' is the open dia-
pason*) 2, Theme of a fugue (obso-
lete).
Principal chords. The basic chords of
a key, i. e, the triads on the tonic,
dominant, and subdominant, with the
dom. chord of the 7th. (Also called
fundamental, primary, 'etc.)
Principale (It.) I. Diapason (organ-
stop). 2. Principal, chief; also, prin-
cipal or leading part, 3. Sometimes
found, in old scores, for tromoa (trum-
pet).
Principal-work. See Stop (noun) 2.
Princi'pio (It.) Beginning, first time.
[In Beethoven, Op. 27, No. 2, 1st
movem.: "pi&marcatodel principio,"
more marled than the first time.]
Prise du sujet (Fr.) Entrance of the
subject.
Pro1>e (Ger.) Rehearsal. . , General'probe,
full rehearsal,
Proceed. (Fr./ra4&r.) To progress.
Pro'grain. (Ger. Program^; Fr. pro-
gramme; It. program'ma<} A list of
compositions to be performed at a con-
cert. .Program-music^et. Programing
musik), a term of modern invention,
applied to a class of instrumental com-
positions intended to represent distinct
phases of emotion, or actual scenes or
events ; sometimes made synonymous
with * * descriptive music ". The ' * pro-
gram 7 of such a composition may be
merely its title ; or occasional interpo-
lated remarks ; or a concise summary
of its poetic subject-matter, appended
as a description for the better compre-
hension of the music.
Progress'. (Ger. forfschreiten; Fr.
proclder^ marcher.) To advance or
move on ; in melody, from one tone to
another; in harmony, from one chord
to another. . .Progression (Get.. .For tf-
sckreitung; Fr. progrh, marcke; It.
progresswne), the advance from one
tone to another, or from one chord to
another; the former is melodic, the
latter harmonic, progression.
Progressive stop. A compound organ-
^op in which the number of ranks in-
creases as the pitch rises.
Prilation. (lAt.prola'tio.) See Nota-
tion* 3-
Prolongement (Fr.) i. A~ mechanical
attachment in the reed-organ for hold-
ing down single keys after the fingers
are raised, 2. Sustaining-pedal.
Promptement (Fr.), Prontamen'te
(It.) Promptly, swiftly.
Pron'to,-a (It.) Prompt, speedy.
Pronunzia'to (It.) Pronounced, marked;
benpr*, well, clearly enunciated,
Proportion. (Lat. ' proper* tio.) See
Notation 3, and Nachtanz.
Propo'sta (It.) Theme of a fugue.
Propri'etas (Lat.) A term applied to a
ligature when the first note was a breve.
It was indicated, when the 2nd note
was the lower, by a descending tail on
the left (seldom on the right) of the
first note ; when the 2nd was the higher,
by the absence of the tail. Oppo'sita
proprietas occurred when the first 2
notes of the ligature were semibreves,
indicated by an ascending tail to the
left of the first note. . . Si'neproprietas,
same as Impropnfetas.
Prose. (Lat. pro'sa.) See Sequence.
Proslambanom'enos (Gk.) See Greek
music i p. 89.
Prosody. (Lat. and It. prosodi'a; Fr.
and Ger. Prosodie'^ Metrics, or" the
science of metre ; specifically, the
science of the quantity of syllables, and
of accentuation, as affecting versifica-
tion.
Prospekt 7 (Ger.) The front of an organ.
. .Prospekfpfeifen, front or -display-
pipes ; also Fronipfeifen.
Rehearsal.
Psalm-melodicon. A wood-wind instr.
with 8 finger-holes and 25 keys, having
a compass of 4 octaves, 'and so con-
structed that from 4 to 6 tones could be
produced at once. Inv. by Weinrich of
Heiligenstadt in 1828 ; improved by
Leo Schmidt in 1832, by whom it was
called the Apollo-Lyra.
PsaTteiy. (Lat fsalte'rium; It. salti
rio;Yr.psalte r rion; G&.JPsaTter.) An
instr. of very ancient origin, and in
use down to the I7th century, known to
the Hebrews as the kinnor> to the
Germans as the Roita; a kind of harp-
zither, with a varying number of strings
plucked by the fingers or with a plec-
trum. The strings were stretched over
a soundboard, as in the dulcimer.
Psaume (Fr.) ,A psalm.
PSAUTIER-QUATUOR.
Psautier (Fr.) Psalter.
Pul'satile instruments. Instns of per-
eussion (Lat. fulsatiHa}.
Pulse. A beat or accent.
Punc'tus, or Punc'tum (Lat.) i. A dot.
2. k.r&te...Punctus contra function,
counterpoint,
Punkt (Gen) A dot. . .Punktierf, dot-
ted.
Pun'ta (It.) Point (of the bow).
Pun'to (It.) Dot.../WaX dotted;
staccato'd.
Pupitre (Fr,) Music-desk.
Purf ling. The ornamental border on
the bellies and backs of violins, etc.
Put'ti (It., pi.) Boys, choir-boys.
Pyranridon. An organ-stop having
short covered pyramidal pipes more
than 4 times as wide at top as at mouth,
and of 16' or 32' tone.
Pyr'rhic, Pyrrhich'ius. A metrical
foot consisting of 2 short syllables
(-).
Pyth'ian metre, verse. The dactylic
(or spondaic) hexameter ( -- 1 -- -
Q.
Quadrat (Ger.) A natural (B)>-(EngL)
In medieval music, a breve (Lat.
quadra' turn).
Quadrici'nium (Lat,) A composition in
4 parts.
Quadrille, (It. quadri'glia.) A square
dance consisting of 5 (or 6) figures
named h Pantalon, /'.//, la Pauls, la
Pastourelle, (la Trenise), and la Finale.
The time alternates between 3-8 (6-8)
and 2-4.
Quadruple counterpoint. See Counter-
feint. . ^Q. croche (Fr.), a 64th-note. . .
Qf rhythm or time, that characterized
by 4 beats to the measure.
Quadruplet. A group of 4 equal notes
to be executed in the time of 3 or 6 of
the same kind in the re- j j j j
gular rhythm; written* 4 **
Quality of tone. (Ger. Ton'farbe; Fr.
timbre; It. timbro) 'That characteris-
tic peculiarity of any vocal or instru-
mental tone which distinguishes it from
the tone of any other class of voices or
instr.s.
Quantity. In metrics, prosodic length, ,
1. e. the time-value of a syllable. In
English versification this is apt to be
disregarded, accented and unaccented
syllables taking the place of long and
short ones.
Quart. The interval of a fourth.
Quart (Fr.) Quarter. . . Q. de soupir, a
i6th-rest.
Quar'ta (Lat and It.) The interval of
a fourth. . . Q. modi (toni), the subdom-
inant.
Quarte (Ger. and Fr.) The interval of
a fourth... Q. du ton (F&) the sub-
dominant.
Quar'tenfolgen (-parallelen) (Ger.)
Consecutive or parallel fourths.
Quarter-note. (Ger. Vier f telnote,Vir / -
telf Fr. noire; It. nt'ra.) A crotchet
( J). (Sometimes abbrev, to Quarter.)
Quarter-rest, a rest equivalent in
time-value to a quarter-note ( X, ) or
?). (Also called quarter-note rest, and
crotchet-rest^
Quartet'. (Ger. Quartet?; Fr. quatuor;
It quartette.) I. A concerted instru-
mental composition for 4 performers, in
symphonic form. 2. A comp. or move-
ment, either vocal or instrumental, in 4
parts. 3. The 4 performers themselves.
Quart'fagott (Ger.) See Bassoon...
Quarfjlote^ see Plate. . Quart geige, see
Violin... Quartsexlfakttjrd^ chord of
the fourth and sixth (| chord).
Quarto (Taspetto (It.) , A i6th-rest.
Quarto'le (Ger.) A quadruplet
Qua'si (Lat. and It.) As if, as it were ;
like ; nearly, approaching. E. g., An-
dante quasi allegretto, andante approach-
ing allegretto.
Qua'ter, See Bis 3.
Quatorzieme (Fr.) The interval of a
fourteenth.
Quatre (Fr.) Four. . .A quatre mains ,
for 4 hands.
Quat'rible. In medieval music, a coun-
terpoint progressing in paraUel fourths
to the canius firmus; a quinible pro-
gressed in parallel fifths.
Quatrici'niuni (Lat.) A composition in
4 parts.
Quattricro'ma (It.) A 64th-note.
Quaftro (It) Four. . . A quaitro mani,
for 4 hands.
Quatuor (Fr.) A quartet, vocal or instru-
mental.
i6o
QUAVER-QUODL1BET.
Quaver. An eighth-note.
Quer'flofce (Ger.) Orchestral flute...
Quer'pfrife, a fife. . . Quet' stand, false
or inharmonic relation.. .Quer'strich,
the thick stroke substituted for the
hooks of hooked notes when grouped,
Queue (Fr., " tail ".) i. Stem of a note,
2. Tailpiece. . .Piano a queue, see
Piano (Fr.)
Quickstep. See March,
Quie'to (It.) Calm, quiet ; opp. to agi-
ta'to.
Quinde'cima (It.) A fifteenth (either
the interval or the organ-stop)., *A lla
q. (abbr, ij **), two octaves higher (or
lower).
Quinde'zime (Ger.) The interval of
fifteenth.
Quin'ible, See Quatrible.
Quin^quegrade. Same as Pentatonie
Quint., i. The interval of a fifth. 2
A 5y-foot organ-stop, sounding a fifth
higher than the normal 8-foot pitch.
3. The ^-string of the violin. 4. See
Violin. . . Quint-stride, the (a) harmonic
or (b) melodic progression of a fifth :
. fr) W
Cil
Quitt'ta (Lat. and It) The interval of a
fifth. . .<X dScima, theint of a fifteenth.
..Quint* falsa (" false fifth"), the
prohibited melodic interval between mi
m the hexachordum durum and fa in
the hex. naturak / the modern dimin-
ished fifth. . . Q. mo'di (to'ni), the dom-
inant (comp. Quintu$)...Alla quinta,
at or m the fifth*
Quittt'absatz (Ger.) A half-close, in
the midst of a piece, on the dominant ;
same as Halbkadenz.
Qumtaton' (Ger.) In the organ, a cov-
ered flue-stop of 8, 16, or 32-foot pitch.
Quinte (Fr.) See i and 2 below...
Quintes cachtes, covered fifths.
Quitt'te(Ger.) I. The interval of a fifth.
2, See Quint 2. 3. The ^-string of
the violin (Fr. chanterelle} . . Quin'ten-
fotgm, -parallen^ consecutive fifths. . .
Qmn'tenreini aa epithet applied to
strings of bow-instr.s, signifying that
they produce "true fifths" to the neigh-
boring strings throughout their length.
.Quin'tenzirkel circle of fifths.
Quiirterne. See Lute. A species ot
lute or guitar extremely popular in Italy
some 200 years ago, with a body resem-
bling a violin and from 3 to 5 pairs of
gut strings, to which were sometimes
added 2 wire-covered single strings.
Quintet 7 . (Ger. Quintet? ;^.quintuor;
It. quintet to.) i. A concerted instr'l
comp. for 5 performers, in symphonic
form. 2. A comp,, movement, or num-
ber, vocal or instr'l, in 5 .parts.
Quintie'ren (Ger.) To overblow Dy a
twelfth, like the clarinet and other instr.s
with single reed.
Quintoier (Fr.) j. To quinible (also
quintoyer). 2. See Quintieren*
Quinto'le (Ger.) Quintuplet.
Quinton (Fr.) i. The 5-stringed treble
viol, or (ace. to ROUSSEAU) the tenor
viol. 2. See Saxhorn,
Quint'stimme (Ger.) A quint (organ-
stop)... Quint* tone, quint-tones (see
Pitch, 2).
Quintuor (Fr.) A quintet.
Quintuple rhythm, time. That char-
acterized by 5 beats to the measure.
Quintuplet. A group of 5 equal notes
to be executed in the time of 4 of the
same kind in the regu- j Jj j j
lar rhythm; written: - 5
Quintus (Lat.) "The fifth" part, in
compositions of the i6th century writ-
ten in 5 or more parts ; it might be set
for any one of the usual 4 classes of
voices, and even wander from one to
the other, whence the name quintus
varans, * * wandering fifth "... Also
Quinta (vox).
Quintviole (Ger.) i. See Quinton i.
2. In the organ, a mutation-stop (see
Gambenstimme).
Quinzifeme (Fr.) The interval of a fifth.
Quire. Obsolete for Choir. . . Quirister,
ditto for Chorister.
Quod'libet (Lat, "what you please";
also Quoflibet, "as many as you
please'*; It. messan'm, mistichan'za,
a mixture.) A humorous combination
of various airs, performed either si-
multaneously or one after the other; the
latter mode differing from the pot-pourri
in lacking the connecting interludes;
a favorite device in the i6th and I7th
centuries, and occasionally employed
even now.
R-RECHANGE.
161
R.
R. Abbr. for right (Ger. rechte)\ r, h,
right hand (rechte Hand)\ for ripieno;
ft stands in. Catholic church-music for
Responsorium; RG, forJResp. Graduate;
R, in Fr. organ-music, stands for
clavier de rfait (swell-manual).
Rab'bia, con (It.) With passion, frenzy;
furiously.
Rackett' (Ger.; also Ranket.) i. An
obs. wood-wind instr. of the bombard
class, with the tube bent many times
and, in consequence, a very weak tone;
improved byChr. Denner, who reduced
the number of bends and made it more
like -the bassoon, whence the later
name Rackett (Fagot? , Stock' fagott).
2. An organ-stop with a tone re-
sembling the above.
Racier (Fr.) To scrape, saw; raeteur,
a bungling fiddler.
Raddolcen'do, Raddolcen'te (It)
Growing calmer and gentler. . .Raddol-
cia'tOi gentler, calmer.
Raddoppiamen'to (It.) i. Doubling
chord-notes. 2. Manifolding copies of
parts. Raddoppia'to, doubled.
Ra'del (Ger.) See Rundgesang.
Radiating pedals. A pedal-keyboard
in which the pedals are set in fan-shaped
arrangement, spreading out to the rear
from in front, and concave (i. e. some-
what higher at the sides).
Radical bass. A fundamental bass. . .
Radical cadence^ see Cadence.
Rad'leier (Ger.) Hurdy-gurdy.
Ra'dlmaschine (Ger.) Piston-mechan-
ism,
Rallentamen'to (It.) A slackening in
tempo. ..Ratttntando, gradually slack-
ening the tempo, growing slower and
slower ; equiv. to ritardando. (Abbr.
rail.) Also rallenta'to. . .Rallenta're,
' to grow slower ; senza ralttntare, with-
out slackening the pace.
Rang (Fr.) Rank.
Rank. A row of organ-pipes. A mix-
. ture-stop is said to have 2, 3, or more
ranks according to the number of pipes
sounded by each digital.
Rant. An old dance ; a name given to
die tunes of various country-dances,
and also to reels (e. g. the Cameronian
Rant).
Ranz des vaches (Fr.; Ger. Ruh'-
reigen, JCuh'reihen.) One of the airs,
or variations on an original air, sung,
or played on the Alpine horn, in the
Swiss Alps as a call to the cattle. It
is characterized by oft-repeated figures,
rising and falling broken chords, and
(when sung) by the frequent employ-
ment of the Jodler*
Rapidamen'te (It.) Rapidly. . .Rapi-
dita\ con> with rapidity... Ra'pido,
rapid.
Rapsodie (Fr.) i. Rhapsody (see
Rhapsodie). 2. A composition of
bizarre and desultory form, lacking
unity and consistency.
Rasch (Ger.) Fast, rapid, swift...
Nock rascher^ still faster. . . So rasch
wie mo'glicht as fast as possible.
Rasga'do (Span!, "a rasping")- In
guitar-playing, the sweeping the string!
with the thumb ; hence, the arpeggio
effect so obtained. x
Ras'tral, Ras'tmm. (Ger. Rastral'.)
1. Music-pen 2. 2. A 5-pointed claw
or graver used by music-engravers for
scoring the lines of the staff in the
zinc plates.
Rat'selkanon(Ger.) Enigmatical canon.
Rattenen'do, rattenu'to (It.) See
Ritenuto.
Ranh (Ger.) i. Harshfly), rough(ly).
2. Hoarse(ly).
Rau'scher (Ger.) A rapidly repeated
note, as on the pianoforte.
Rausch'quinte (Ger.) In the organ, a
mixture-stop of 2 ranks, combining
pipes of 5^ and 4-ioot pitch, or of 2]
and 2-foot pitch, without a break
(Also Rausck'jldtei -ffei/e, -quart*
Rawivan / do (il tempo) (It.) Acceler-
ating the tempo.
Ray. For Re, in the Tonic Sol-fa sys-
tem.
Re. Second of the Aretinian syllables,
and name of the note D in Italy, etc.
In French, Rt.
Rel>ec(k). The primitive violin of me-
dieval Europe, known in Italy as the
rilefba or ribfca, and in Spain as the
rabe, rabeL The body was shaped like
a half-pear ; it had 3 gut strings, which
yielded a powerful, strident tone.
Rechange (Fr. , ' f exchange"). The corps
or tons de rechange are the crooks of
the horn, etc.
RECHT-REED-ORGAN.
Recht (Ger.) Right ; rechtt Hand, right
hand.
R6cit (Fr.) I. A vocal pr instrumental
solo part 2. The leading part in a
piece of concerted music. Clavier de
rlcit, swell-manual.
Recital. In the usual acceptation of the
term, a concert at which either (a) all
the pieces are executed by one perform-
er [as zpfte. -recital}, or (b) all pieces
performed are by one composer.
Recitan'do (It.) In declamatory style.
Recitaflt,-e (Fr.) One who sings or
plays a solo.
Recitati'vetteevO. li.Reeitati'vo; Fr. r&-
citatif; Ger. Recitatii/. A style of de-
clamatory singing,, dating from 1600
(the earliest operas), and springing
from the efforts to emancipate dramatic
song from the contrapuntal forms then
in vogue. The first recitatives had a
very simple accompaniment, a mere fig-
ured bass (redtatiw sec f co) ; this broad-
ened into the redtatiw accompagna'to
. (or obbligcfto, stromenta'to ; Fr. equiv.
obligt^ dctompagnt), in which the instru-
mental parts were invested with more
life, variety, and musical importance.
Unless marked rtcitatiw a tempo, the
recitative may be performed ad libitum.
The connecting-link between the rec.
of the opera and oratorio and the A'ria
is found iathe^frzVjv. Wagner's rec.
differs from the earlier forms in the per-
fectly natural musical inflection of the
vocal part (the ancient cadences, etc.,
being abolished), and the richly instru-
mented and marvelously pregnant ac-
companiment (comp. Melos).
Re*citer (Fr.) To sing or play a r/aV,
Reciting-note. That tone, in any Gre-
gorian mode, on which the greater por-
tion of every verse in a psalm or can-
ticle is continuously recited ; i. e. the
dominant of the mode.
Recorder. An obsolete species of flageo-
let, having 7 finger-holes on the upper
side and one below, with an extra hole
near the mouthpiece covered with a thin
membrane (goldbeaters'-skin), and pro-
bably influencing the qua!-,
ity of the tone. Compass
about 2 octaves, from / ! :
Recte et retro (Lat., " forwards and
backwards"). Direction for performing
a canon cancrizans.
Rsctus (Lat.)
Reddi'ta, Redi'ta (It.) A repeat.
Redoubled interval. A compound in-
terval,
Red'owa. A dance derived from
Bohemia, and, like the Mazurka, though
less strongly accented, in 3-4 time and
lively tempo. In Bohemia there are 2
varieties, the Rejdovak in 3-4 or 3-8
time, and the Rejdovacka in 2-4 time.
ReMiiire (Fr.), Reduzie'ren (Ger.) To
reduce the volume of a composition by
rearranging it for a smaller number of
instr.s, while preserving its form as far
as possible.
Redundant. Same as Augmented (of
chords and intervals).
Reed. (Ger. Rohfblatt, Zung>e ; Fr.
anche; It. an'tia, lin'gua.) A thin
strip of cane, wood, or metal, so ad-
justed before an aperture as nearly to
close it, fixed at one end, and set by an
air-current in vibration, which it com-
municates either to an enclosed column
of air (organ-pipe, oboe, etc.), or direct-
ly to the free atmosphere, ^thus produc-
ing a musical tone. There are 2 classes
of reeds, (l) Free Reeds, which vibrate
within the aperture without striking the
edges; and (2) Beating (or striking,
or percussion) Reeds, which strike on
the edges ; in either class, the elasticity
of the reed causes its return-stroke after
it is borne down by the air-current
Double Reed, two beating reeds which
strike against each other (oboe, bas-
soon). (Also comp. Pipe 2, Reed-
organ, Regal)
Reed-instrument, One whose tone is
produced by the vibration of a reed in
the mouthpiece ; the orchestral instr.s
of the oboe and clarinet groups.
Reed-organ. The precursor of the reed-
organs now in use was the Regal, which
contained beating reeds similar to those
in the reed-pipes of church-organs. -The
present reed-organs have free reeds ;
there are 2 principal classes : (l) The
Harmonium^ bellows of which forces
compressed wind outwards through the
reeds ; and (2) the American organ, in
which an -exhaust or suction-bellows
draws the air in through them. Until th*
invention of the Vocation, a variety of
reed-organ having compression-bellows
like those of the harmonium, the tone of
the second class was generally superior
to that of the first. The wind-supply is
ordinarily obtained by the aid of apair of
REED-PIPE-RELISH.
163
treadles operated by the performer.
There may be one or many sets of reeds
or vibrators, each controlled by a 'stop
and slider-mechanism. The timbre of
the various orchestral instr.s is now
very successfully imitated. Common
mechanical devices are the percussion-
stop, expression-stop (harmonium), knee-
swell (Amer. org.), tremulant, double-
touche, and prolongement.T'fat first
reed-organ was invented by Grenie in
1810, and' named by him orgue expressif
on account of the crescendo and decre-
scendo obtainable on it ; other inventors
constructed the aoline, ceolodikon, phys-
karmonica, etc.; the Harmonium, the
first instr. of the class having several
stops, was patented in Paris by A. De-
bain in 1843.
Reed-pipe, Reed-stop. See Pipe 2, b.
Reed-work. See Stop (noun) 2.
Reel. A lively dance, probably of Celtic
origin, still in vogue in Scotland and
Ireland, and usually in 4-4 (sometimes
in 6-4) time,with reprises of 8 measures;
danced by 2 couples.
Refrain 7 . A burden.
Re'gal. (Ger. Regal') i. An obsolete
kind of portable organ with one or two
sets of reed-pipes (beating reeds), a
keyboard for the right hand, and a bel-
' lows worked by the left. According to
the number of pipes sounded by each
digital, it was called a single or double
regal The .old English name was
regall, or a pair of regalls. (See Har-
monium.} A Bibelregal (Ger.) was one
folding up like -a large bible ; a bible-
organ. 2. (Ger.) An obsolete suffix
distinguishing reed-stops; e.g. Hat'-
fenregal, Gei'genregaL 3. An old
species of xylophone.
Re'gel(Ger.) A rule.
Re'gens cho'ri (Lat.) Choir-master.
Regier'werk (Ger.) In the organ, the
mechanism of the keys and draw-stops,
taken collectively.
Register. I. (Ger. Regis' ter) A set of
pipes or reeds controlled by one draw-
stop; in this sense synonymous with
stop (organ-stop). 2. A board with
perforations for guiding and steadying
the trackers of an organ-action. 3. A
portion of the range and compass of
the voice, and of certain instr.s ; (a)
see Voice; (b) comp. Chalumeau.
Register (Ger.) Register i and 3
Regis' terknopf, stop-knob, . * Regis' ter-
stange, stop-lever. . . Regis' terzug, draw-
stop mechanism... Stum f me Register
(pi.), mechanical stops ; ionende Regis-
ter (pi), speaking stops.
Registre {Fr.) i. A stop-knob. 2.
Register 3.
Registration, i. The art of -effectively
employing and combining the various
stops of the organ. 2. The combina-
tion or combinations of stops employed
for -any given composition.
Registrie'ren (Ger,) To registrate or
register (see Registration). Registrie'-
rung, registration.
Regie (Fr.) Rule,
Rein (Ger.) Perfect (of intervals) ; just,
true, correct (of pitch or intonation).
Rein'greifen (Ger.) Accurate stopping
(violin) ; accurate playing (in general).
Rei'tertrompete (Ger.) Clarion, clarina,
clarino. (Medieval trumpet, with
straight tube about 30 inches long.)
Rela'tio non harmo'nica (Lat.) In-
harmonic relation.
Relation. (Ger. Verwand'schaft; Fr.
relation; It. relassiv'ne.) The degree
of affinity between keys, chords, and
tones. The simplest explanation of re-
lationship is that promulgated by the
neo-harmonists (comp. Phone^ 4).
Also Relationship, Tone-relationship
(Ger. Ton'verwandschaft).
Relative key. (Ger. Parallel 'tonart;
Fr. mode relatif; It. tono rektti'vo.) A
minor key is relative to that major key,
the tonic of which lies a minor third
above its own ; a major key is relative
to that minor key, the tonic of which
lies a minor third below its own. (N.
B, Relative is sometimes used for re-
lated, in qualifying keys and chords.)
Religiosamen'te, Religio'so (It.) In
a style expressive of religious or devo-
tional feeling.
Relish. One of the ' ' shaked graces " of
the old harpsichord-music ; in 2 forms,
namely, the Single Relish :
played ;
1 64
REMOTE KEY RESPONSORY.
Remote key. An unrelated key. (See
Relation?)
Remo'tus (Lat) Remote, far apart ; as
harmonia remota, open harmony.
Remplissage (Fr., "filling"). The
parties de r, are the inner parts. The
word r. is also used as a term of re-
proach for superfluous or cumbrous
parts in the works of novices ' * pad-
ding " ; also, for non-concerted parts.
Rendering. Artistic interpretation or
reproduction. (Preferable to the term
"rendition".)
Rentre*e (Fr.) Reentrance of a part or
theme after a rest or pause.
Renverser (Fr.) To invert ; renvers/;
inverted ; renversement^ inversion.
Renvoi(Fr.) The sign (e. g. <*) direct-
ing the performer to return to and re-
peat from a similar sign.
Repeat. (Ger. Wiederho* lungsztichen^
Fr. bdton de reprise; It. re'plica.) The
the first signifying that the division be-
tween the dotted double-bars is to be
repeated; the second and third, that
the preceding and also the following
division is to be repeated; the dots
always being on the same side of the
bar as the division to be repeated.
Comp. Da Capo^ and Dal Segno.
Repeating action. See Repetition 2.
Repercussion. (Lat. repercus'sio.) i.
The repetition of -a tone or chord. 2-
The regular reentrance, in a fugue, of
the subject and answer after the epi-
sodes immediately following the expo-
sition, 3. In Gregorian music, the
dominant of the mode, as being the
tone most reiterated.
. Repetie'ren (Ger.) i. To break (see
Break 3). . .Einerepetie'rende Stim'me,
a mixture-stop with a break. 2. To re-
peat
Repetition, i. The very rapid reiter-
ation of a tone or chord, producing
almost the effect of a sustained sound.
2. Repeating action, one in which
the rebound of the hammer admits of
the instant restriking of the key and
repetition of the tone (pfte.)
Re"pe"tition (Fr.) Repetition ; rehearsal.
Repetition' (Ger.) Repetition i and 2 ;
also, a Break$. . * Repetitions' mechanik,
repeating action (pfte,) j
Repeti'tor (Ger.) The trainer or con-
ductor of an opera-chorus. (Fr.chefdit
chant.)
Repetizio'ne (It.) Repetition.
Re'plica (It) A repeat... RepUca'to,
(a) repeated ; (b) doubled*
Rep'licate. A tone one or more octaves
above or below a given tone.
Replik' (Ger.) A complementary inter-
val.
R6plique (Fr.) i. A replicate (unused).
2. Answer (usually rfyonse). 3. A
complementary interval. 4. A cue.
Reply. Answer.
R6pons (Fr.) A response.
Re*ponse (Fr.) An answer.
Report. Same as Answer.
Repos (Fr.) The end of a phrase,
marked by a full cadence.
Reprise (Fr.) I. A repeat. 2. The re-
vival of a work. 3. Break 3. 4. The
repetition of the first theme, in a short
movement, after an episode. 5. Same
as Rentr/e*
Requiem. The first word in the Mass
for the Dead, which begins with the
antiphon Requiem aternam dona V f
domine; hence, the title of the musical
setting of that Mass. Its divisions are
as follows: (i) Requiem, Kyrie; (2)
Dies irse, Requiem ; (3) Domine Jesu
Christe ; (4) Sanctus, Benedicts ; (5)
Agnus Dei, Lux seterna.
Resin. See Rosin.
Resolution. (Ger. Aufldsvng; Fr.
resolution; It.' risoluzio'ne.) The pro-
gression of a dissonance, whether a
simple interval or a chord, to a conso-
nance.
Resoluzio'ne, con (It) See Risoluto.
Res'oaance-boac. A hollow resonant
body, like that of a violin or zither.
Resonanz'boden (Ger.) Soundboard or
belly. ..Resonant hasten, resonance-box.
. .Resonanz' saite^ sympathetic string.
Respi'ro (It.) A i6th-rest
Respond. See Responsory 3.
Response. (Lat respon'sum.) i. The
musical reply, by the choir or congre-
gation, to what is said or sung by the
priest or officiant, either in the Anglican
or R. C. Church. 2. See Responsory.
3. Same as Answer.
Respon'sory. (Lat. responso'rium^ i.
That psalm, or part of one, sung be-
RESSORT RHYTHM.
1*5
tween the missal lessons. 2. The Grad-
ual. 3. A Respond ; i. e.* a part of a
psalm (formerly an entire psalm) sung
between the lessons at the canonical
' hours.
Ressort (Fr.) Bass-bar.
Rests:
Time-value
I.
Rest. (Ger. Pau'st; Fr. silence; It
pa'usa.) (i) A pause or interval of
silence between two tones; hence (2)
a sign, indicating such a pause. The
rests equivalent in time-value to the
several notes are as follows :
6.
^or-SE^'
ENGLISH.
GERMAN.
FRENCH.
i. Whole rest. Taktpause. [Pause. Pause.
2. Half-rest. Halbe (or Zweitel-) Demi-pause.
3. Quarter-rest. Viertelpause. Soupir.
4. Eighth-rest. Achtelpause. Demi-soupir.
5. i6th-rest. Sechzehntelpause. Quart de soupir.
6. sand-rest.
7. 64th-rest.
Zweiunddreissigstelp. Demi-quart de s.
Vierundsechzigstelp. Seizieme de s.
ITALIAN.
Pausa della semibreve.
minima.
semiminima (or Quarto).
croma (or Mezzo-quarto),
semicroma (or Respiro).
biscroma,
semibiscroma,
...J3reve-:
^=. equal in time-value
=2 to I breve ( ^sj ), or
or whole notes
2 semibreves
. .Large-rest^ Long-rest \ see Notation^
3, p. 131... Measure-rest^ a pause
throughout a measure. The whole rest
is often used as a measure-rest, regard-
less of the measure-value expressed in
the time-signature ; the 2-measure rest
is then writ- the 3-measure
ten thus : * r e s t t h u s :
, the 4-measure - etc.
-' rest thus: B * But,
for rests longer than one measure, any
one of the following conventional signs
is usually employed, with a numeral above
to show the number of measures rested:
38
Restric'tio (Lat.) Stretto (of a fugue).
Resultant tones. See Acoustics, 3.
Retard. To suspend... Retarded pro-
gression, same as Retardation 2.
Retardation. A holding-back, decreas-
ing in speed. 2. A suspension resolving
upward ; opp. to Anticipation.
Retraite (Fr.) The tattoo.
Retrograde. (Lat. retrogra'dus; It.
retrogra' do). See Imitation.
Ret'to (It.) Direct, straight.
"
Reveille (Engl. and Ger.; from Fr. r/.
veil.) A mSitary signal for rising.
Reverie. An instrumental comp. of a
dreamy cast, without characteristic form.
Reversion. See Imitation^ retrograde.
..Reverse motion^ same as Contrary
motion.
Rhapsodie (Fr.) In ancient Greece,
rhapsodies were fragments from the
great epics, sung by the rhapsodes to
the cithara. In modern music, the
rhapsodic is generally an instrumental
fantasia on folk-songs or motives taken
from primitive national music ; an ex-
ception is Brahms' Op. 53. (Also Rhap*
sody.)
Rhythm. (Ger. Rhyth'mus; Fr, rythmej
It. ritfmo) i. The measured move-
ment of similar tone-groups ; i. e M the
effect produced by the systematic group-
ing of tones with reference to regularity
both in their accentuation and in their
succession as equal or unequal in time-
value.< A Rhythm is, therefore, a tone-
group serving as a pattern for succeed-
ing groups identical with it- as regards
the accentuation and duration of the
tones. The rhythm, being thus a thing
apart from tonal melody or harmony,
is reducible to a formula of notes with-
out pitch, merely representing an orderly
series of pulsations ; take, for instance*
the castanet-rhythm of 3 Spanish na-
tional dances ;
c66
RIBS-RIPRESA.
2) Fandango: g L *** i **+*4
"0m m \ m
(3) Bolero^ <| ^ ^
5 I|U"
The vertical bars divide the measures;
the slurs' connect notes forming one
rhythmic group or rhythm. The differ-
ence between a measure and a rhythm-
is apparent ; the former is the sum of
the time-values of notes (or rests) be-
" tween 2 bars, whatever be their arVange-
ment ; the latter may be contained (i)
within a measure, but at (2) embraces
2 measures, and at (3) begins before the
bar. Time i on the other hand, is the
division of each measure into equal
fractional parts of a whole note, corre-
sponding (at least in the simple times)
to the same number of regular beats to
a measure ; with which regular beats
the pulsations of the rhythm are by no
means required to coincide. It must
be added, however, that the above defi-
nitions are not universally accepted,
and that great confusion prevails in this
department of English mus. termi-
nology, as in others ; they are given
simply as valid for this Dictionary. 2.
Rhythm, in a wide sense, is the accent-
uation marking and defining broader
mus. divisions in the flow and sweep of
a composition by special emphasis at the
entrance or culminating points of mo-
fives, themes, phrases, passages, sections,
etc. (Comp. Accent 2.)
Ribs. (Ger. Zar'gen; Fr. Misses; It
fafscie.) The curved sides of the violin
and similar instr.s, connecting belly
and back.
Ribattu'ta (It.) A device for begin-
ning a trill. (Comp. Trill.}
Ribe'ba, Ribe'ca (It.) Rebec.
Ricerca're, Ricerca'ta (It.) i. Original-
ly vocal, and later also instrumental,
compositions of the l6th and xyth cen-
turies, in fugal form more or less high-
ly developed, usually built up as a sort
of fantasia on original motives. 2. See
Fugue.
Riddle-canon. See Canon, enigmatical.
Ridot'to (It) i. Reduced (see Rlduire\
: 2. A reduction.
Rigadoon'. (Fr. rigaudon.} An ani-
mated, often grotesque dance of French j
'etc.
origin, generally in 4-4 time (sometimes
2-2, rarely 6-4) with an auftakt of a
quarter-note ; it consists of 3 or 4 reprises,
the third falling in as if by chance at a
lower pitch' and frequently without a
regular close, to enhance the contrast
with the succeeding division.
Ri'go (It.) The staff. (Also landa,
fortata, sistema, tirata, or verto.}
Rigo're (It) Rigor, strictness. .. Ow
r., air. di tempo, in strict time. (Also
rigoro'so}
Rilascian'do, Rilasdan^'te (It.) Ral-
lentando.
Rimetten'do (It.) " Resuming" the
former tempo (after -accel. or roll}.
RJnfprza're (It) To reinforce (by ad-
ditional stress) ; to emphasize. , .JRirt*
forzamento, reinforcement ; rinfor-
zan'do or rinforzafto, with special
emphasis ; indicates a sudden increase
in loudness, either for a tone or chord,
or throughout a phrase or short passage
(abbr. rinf., rfz., rf.}; rinfo^zo, re-
inforcement ; per rinforzo, by way of
reinforcement.
Ripercussio'ne (It.) Repercussion.
Ripetizio'ne (It) Repetition,
Ripie^nist. (Itnjtowfrte.) A musician
playing a ripieno part.
Ripieno (It. ; lit " full, filling up ; sup-
plementary.") i. A ripieno part in in-
strumental music is one reinforcing the
leading orchestral parts by doubling
them or by filling in the harmony, and
is thus opposed to solo, concertante, and
obbligato; such parts are termed
ripi?ni (noun). 2. In scores, ripieno\&
a direction calling for the entrance of the
full string-band (or, in military music,
the clarinets, oboes, etc.), being equiva-
lent to Tutti. (Also v. APPENDIX.)
Ripien'stimmen (Ger.) Ripieni.
Ripiglia're (It.) To resume; ripi-
glian'do, resuming.
Ripren'dere (It) To resume; ripren*
den* do, resuming.
Ripre'sa(It) A reprise or repeat; also,
the sign Sp.
RISE-ROMANCE.
167
Rise. Same as Plain-beat.
Risenti'to (It.) Energetic, vigorous;
expressive.
Risoluzio'ne (It.) r. Energy, decision.
2. A resolution.. .Risolu'to^ energetic,
decided, strongly marked... Risoluta-
men'te, with energy, decision.
Risonan'za, Risuonan'za (It.) Reso-
nance.
Rispo'sta (It.) Answer (in a fugue) ; con-
sequent (in a canon).
Riss in der Stimme (Ger., "crack in
the voice".) A break (when the pas-
sage from one register to another cannot
be smoothly effected).
Ristret'to (It.) A stretto.
Risveglia'to (It) Lively, animated.
Ritardan'do (It.) Growing slower and
slower (abbr. ritard., rit.) Also ritar-
da f to. . .Ritat'do, retardation,
Ritenen'do, Ritenen'te (It.) Same as
Rallentando*
Ritenu'to (It.) Properly, held back, in
slower tempo ; but often used incor-
rectly for rallentando. Abbr. riten^
rit. (See Tempo-marks^
Rit'mo (It.) Rhythm. . . R. di due (tre)
battrfte [= 2-measure (s-measure)
rhythm], a phrase indicating that not
one measure, but 2 (3) measures, are to
be considered as forming a great mea-
sure or metrical unit. [An identifica-
tion of rhythm with metre; comp.
Rhythm 2.J
Ritornel'lo (It) i. In accompanied
vocal works, such as songs, arias, ora-
torios, or operas, an instrumental pre-
lude, interlude, or postlude (refrain) ;
or, a tutti in a concert-piece. Also
ritornette (Fr. ritournelle). 2. A re-
peat. 3. The burden of a song.
River'so (It) I. Reversed. 2. Retro-
grade. (Comp. Rovescio^
Rivolgimen'to (It.) Transposition of
the parts in invertible counterpoint
Rjvorto (It) Inversion. . .Rivolia'to^
inverted,
Robu'sto (It) Firm and bold... Robu-
stamen'te^ firmly and boldly.
Rock-harmonicon, An instr. consist-
ing of a series of rock-crystals, gradu-
ated to the tones of the scale, and play-
ed with hammers.
Roger de Coverly. See Sir Roger.
Rohr, Rohr'blatt (Ger.) i. Reed ; the i
latter is applied specifically to the reeds
of the oboe and bassoon (dop'pdtes
Rohrblatf), and of the clarinet (ein f -
f aches Rohrblati). Zung'e is the usual
term for Reed. . .Rohr'fiote (Fr.Jldte h
chemine't; Engl. reed~jlute\ a half-
covered flue-stop in the organ, with a
hole or chimney in the cover, and of 8,
16, or 4-foot pitch ; the tone is brighter
than when the pipes are wholly cover-
ed; the lower half of the rank, how-
ever, is wholly covered. Of 2 or i-foot
pitch, it is usually called Rohr* schelle.
The Dop'pelrohrfldte is one with double
mouth, the Roh/quinte a reed-flute of
2%-foot pitch. The English clarionet-
werki reed-work. 2. Tube (of a wind-
instr.) [only Rohr\
Roll. I. (Ger. Wir'beljTi.roukment;
It rollo.) A tremolo or trill on the
drum, produced (a) on the kettledrum
by rapid alternate single strokes ; (b) on
the side-drum , by striking alternately 2
strokes with the left hand and 2 with
the right. fr or~^ or ^ or Jj
Thesi s n g ' I ^ I " I ^ ^*1
m nntaJ^." I * I ^ I Jf ^^
tion is: p
. . Long roll, the prolonged and reiterated
drum-signal to troops, either for the
attack, or the rally. 2. In .organ-play-
ing, a rapid arpeggio. 3. On the tam-
bourine, the rapid and reiterated hither-
and thither-stroke with the knuckles.
Rorie (Ger.) A succession of rapid un-
dulatory (ascending and descending)
runs or passages consisting of repeti-
tions of the same figure.
RoHo (It.) Roll i.
Roller. I. The cylinder or barrel of a
music-box, or of a carillon. 2. A
roller-board ; a wooden bar. resting oa
gudgeons and provided with 2 arms,.
one pulled by a tracker from a key,
which makes the other draw a tracker
opening a valve (organ). , .Roller-board
action, the mechanism belonging to the
roller-boards of an organ.
Romance. (It romanfza; Ger. Ro*
man'ze.) Originally, a ballad, or popu-
lar tale in verse, in the Romance dia-
lect ; the name, being later transferred
to stories of love and knightly adven-
ture, which were often set to music,
has been employed in modem times as
the title of epico-lyrical songs, and, by
further transference, of short instru.
168
ROMANESCA-ROUNDEL.
mental pieces of a sentimental or ro-
mantic cast, and without definite form
(see Bdladfy~-Tbz French romance is
a simple love-ditty expressive of tender
melancholy; Romances sans Paroles
are " Songs without Words/'
Romane'sca (It.) The Italian form of
the Galliard, so called betause coming
from Rome.
Romantic. The opposite of classic
'which denotes an accepted and com-
prehended type, in which form and
spirit blend to form an harmonious
whole). Romantic was an epithet orig-
inally derived from Romance poems of
the early middle ages, and applied to
very various products of a lively,
gloomy, or heated imagination down to
the German revival of Romantic litera-
ture during the i8th century. All late
romantic poems having something of
exalted mysticism," visionary enthusi-
asm, or strong subjective and senti-
mental emotion of an uncommon type,
the term romantic was .naturally trans-
ferred to composers and their 'works
1 that depart from the beaten track, and
aim at expressing emotion in a style
and with means differing from those
employed by their predecessors. Thus,
old forms are . broadened, new forms
and types created, and also many ec-
centric and ill-conceived productions
brought to light. Hence it comes, too,
that the Romanticists of to-day are the
Classicists of to-morrow ; that Haydn
and Mozart, Beethoven, Weber,
Chopin, and Schumann, Berlioz,
Liszt, and Wagner, are all in turn
decried, listened to, tolerated, admired,
worshipped, and imitated. And the
imitators of original genius are simply
post-classicists, who, in full accord with
the form and mode of expression em-
ployed by their models, seek to elabo-
rate and finish both in a manner suited
to their own needs. It might be said,
that any great original composer re-
mains k romanticist until he is thorough-
ly understood. Berlioz, Liszt, Wagner
and their following are generally class-
ed as the nee-romantic school.
Roma'nusbuchstabefl (Ger.) The lit-
tercs significative
Ronde (Fr.) A whole note.
Ron'do. (It. rondb f [dimin. rondinefh,
rondinefto, rondi'no, rondoletfto\ ; Fr
rondeau.) A form of instrumental com-
position, the characteristic feature of
which, a return of the leading theme, is
derivable from the construction of the
old French poetical form of the ron-
deau: While in the earlier rondos the
digressions from the ist theme were of
an irregular and desultory character, the
episodes of the modern form assume
the shape of well-defined contrasting
themes, somewhat in the following order:
I-II (dominantH-ni-I-II (tonic)-Co-
da, (SeeF<?r/rc.)
Root. The lowest note of a chord in the
i ' i r-ft - here ^ is the
fundamental hE-g- root | the triad
position; e.g. ivy " ^MW 2 .
Rosa'lia (It.) A#ielodic form consist-
ing of the repetition of a phrase or
figure several times, each time trans-
posed one degree higher, -pr simply (as
more loosely interpreted) on various de-
grees. (Ger. Rosa f lie ; also Schu'ster*
fleck, and VetUr Mi'cheL)
Rose. (Ger. Ro'se; Fr. rosette; It. ro'sa!)
The ornamental pattern bordering the
sound-hole in the belly of 'the guitar,
mandolin, etc. ; often used not merely
as an ornament, but as a trade-mark.
Rosin. (Ger. K&kphori '; Fr. colophane;
It. colofo'nia) The residue of turpen-
tine, after distillation to obtain the oil
of turpentine. That used for violin-
bows is the refined article.
Ro'ta. i. A round, rondeau, or piece of
similar construction. 2. (Also Rote^
Rotta, Rotted) See Crowd.
Roton'do (It.) Round, full (of a tone).
Roulade (Fr.) A grace consisting of a
run or arpeggio from one principal tone
to another ; a vocal or instrumental
flourish.
Roulement (Fr.) Roll.
Round, I. A species of vocal rhythmical
canon at the unison, differing from the
regular canon in having no coda, thus
' being infinite ; a favorite style of com-
position in England, from early times
(the celebrated round '* Sumer is i-cum-
en'in" is supposed to date from the
middle of the I3th century) down to the
present day. It differs from the catch
(with which it was formerly identical)
in eschewing the comical effects of, the
latter. The round proper sometimes
has an harmonic support or accom-
paniment called the fes.2. A circle-
dance, or round dance.
Roundel. A dance in which the partici-
pants form a circle or ring.
ROUNDELAY SAITE.
169
Roundelay. A lay or song 1 containing
some continued reiteration or refrain.
Also, a roundel.
Rovesciamen'to (It.) i. Reversion,
contrary motion ; retrograde motion.
2. Inversion.
Rove'scio (It., " reverse, wrong side".)
Al r. signifies: (a) Imitation by con-
trary motion ; (b) a movement so con-
structed that it maybe performed back-
wards (cancrizans).
Ruba'to (It., "robbed".) Used in the
phrase tempo rubato as a direction, in
passages calling for the display of in-
tense or passionate feeling, that, the
performer should modify the strict
rhythmical flow of the movement by
dwelling on, and thus (often almost in-
sensibly) prolonging, prominent mel-
ody-notes or chords, this in turn re-
quiring an equivalent acceleration of
less prominent tones, which are thus
robbed of a slight portion of their time-
value.
Rubfebe (Fr.) Rebec.
Riick'fall (Ger.) A backfall.
Riick'gang (Ger.) Return (i. e. a tran-
sition from one theme to the repetition
of a preceding theme).
, Rlick / positiv (Ger.) See Positiu.
Riick'ung (Ger., " a shifting'*.) i. Syn-
copation. 2. Enharmonic change (cn>
harmonische Rfickung)*
Riick'weiser (Ger.) The sign fy.
Ruh'ezeichen. (Ger.) See Pause (Ger.)
Ruh'ig (Ger.) Quiet, calm, tranquil
(Also adverb.)
Riih'rung (Ger.) Emotion.
Rule of the octave. See Octave.
RuHan'te (It.) Rolling ; tamWro rul-
lante^ a side-drum,
Run. i (noun). A rapjd scale-passage ;
in vocal music, usually applied to such
a passage, sung, to one syllable. 2
(verb). The wind in the windchest (or-
gan) is said to run when it leaks into a
groove ; this running causes a more or
less distinct sounding of the pipes on
that groove, and is a serious defect.
Rund'gesang 1 {Ger.) A solo song, with
refrain for chorus.
Russ'pfeife (Ger. ; Dutch Ruispipe.)
See Rauschquinte.
Ru'stico (It.) Rustic, pastoral.
Rutsch'er (Ger,) Old Ger. name for
the Galop.
Ru'vido (It.) Rough... Rumdamen'te^
roughly, coarsely.
Rythme(Fn) Rhythm.
Rythme" (Fr.) In rhythm, measured;
bun r. (It. ben ritmato), with due
rhythmic emphasis; or (of a composition)
well-balanced and effective in rhythmical
construction.
s.
S. Abbr. of Segno ^ in the phrases at
Segno ', dal Segno; Sema, in the phrases
senza Pedale, sensa Sordini j of Sini-
stra; Solo; Sordini and of Subito, in
the phrase volti subito,
Sabot (Fr.) i. In the double-action
harp, one of the movable disks, each
provided with 2 projecting studs, which
make a partial revolution on depressing
a pedal, the studs engaging and thus
shortening the string. 2. An inferior
fiddle. .
Saccade (Fr.) In violin-playing, a firm
stroke of the bow by which 2 or more
strings are so pressed down as to sound
together.
Sackbut. i. Earlier form of the trom-
bone. 2. In the Bible (author, vers.),
the translation of sabbeka^ which is
supposed to have been a harp-like instr*
(Also Sacbut.)
Sacfpfeife (Ger.) Bagpipe.
Sacque-boute (Fr.) See Saquetute.
Sacred music. (Ger. Ki/chcnmusik;
Fr. musique tfe'gtise; It. mu'sica reli-
git'sa.) Church-muste, or music for
devotional purposes; opp. to secular
music*
Sa'crist. A person retained in a cathe-
dral, whose office it is to copy out the
music for the use of the choir, and take
care of the books. [BusBY.]
Sagbut. Same as Sackbut.
Sai'te (Ger.) A string. . .Sai'tencfor,.*
unison of strings (group of 2 or 3 tutted
in unison). . . Sai'ienfessel> usually Sai'-
tenhalter, tailpiece. . . Sai'tenharmonika,
a keyboard stringed instr. inv. by J. H.
Stein in 1788, with diminuendo attach-
ment . . . Sai'teninstrumente, stringed
instr.s. . . Sai'tenorgel(" string-organ"),
a keyboard stringed instr. inv. by Carl
Gttmbel of Kroffdorf, near Giessen,
Prussia, in 1890. The sustained tone
(organ-tone) is obtained by adding to
170
SALICET-SARRUSOPHONE,
each unison a fourth string, which is
set in continuous vibration by the rapic
blows of an harmonium-reed furnished
with a leathern head; the action oJ
these reeds (whose vibration-numbers
coincide with those of the correspond-
ing unisons struck by the ordinary ham-
mers) is controlled by wind, supplied
by bellows filled by a pair of treadles
worked by the player. By means of
various stops and combinations, the S.
can be played (i) as a pfte.; (2) as an
organ ; (3) with pfte.-tone and organ-
tone combined ; (4) the bass side as
an organ, and the treble side as a
pfte., or vice versa ; (5) with crescendo
and decrescendo effects, and all imagin-
able gradations of tone-power. The
combined timbre partakes of the quali-
ties of the string-band, organ, and pfte.
Built in 2 styles, upright and grand.
Sal'icet, Sali'cional. An organ-stop
having open flue-pipes of metal, gener-
ally of 8-foot pitch, sometimes of 4, 2,
and (on the pedal) 1 6-foot pitch, with a
mellow, reedy tone like the Dulciana.
Salmi (Fr.) Quodlibet.
Sal'mo (It) Psalm.
Salon'fliigel (Ger.) Parlor grand (pfte.)
..Salowstuck^ a piece of salon-fa
lor-) music.
Saltarel'la, Saltarel'lo (It.) i. A jack.
2. In many dance-tunes of the i6th
century, the second part (Ger. Hop'pel-
ians, Nach'tanz; Lat. proper* tio; Fr.
tourdion)^ which was in triple time, the
first being in duple time ; the skipping
step was marked in the rhythm:
JTHlJLj-.
etc. 3. A Roman (or Venetian [?])
dance in 3-4 or 6-8 time. 4. In sal-
tarello^ a term formerly applied to a
canto fermo accompanied by a counter-
point in sextuplets.
Salta'to (It.) In violin-technic, a variety
of the * l springing bow ".
Salteret'to(It) The rhythmical figure
Salte'rio, Salte'ro (It.) i. Psaltery.
2. Dulcimer (salterio tcdisco).
Sal'to (It.) A skip, leap...Z>* salto,
(progressing) by skips or leaps.
Salya're (It.) To resolve (salvaS una
dissonan'za).
Salvation (Fr.) Resolution (of a dis-
sonance).
Sal've Regi'na (Lat., " Hail ! Queen [of
heaven] .) One of the antiphons to
the tl Blessed Virgin Mary", sung, in
the R. C. service, after lauds or complin
from Trinity Sunday to Advent.
Sambu'ca. One of the most ambiguous
instrument-names of the middle ages,
usually employed in the sense of the
Greek caftpfarf (Lat. sambuca) for a
kind of small psaltery (Spitz' harfe],
but also occurring (as if derived from
the Lat. sambu'cus, alder) for a species
of pipe ; and finally, as a corruption of
symphonla (samponia, zampogna) for
the bagpipe and hurdy-gurdy (sambuca
rota' to), and, instead of sacqueboute,
for instr.s of the trombone class. Sam-
but, Sambiut, are German forms of
sambuca in the sense of a psaltery.
[RlEMANN.] Also Sambuke.
Sampo'nia. See Sambuca, and Zam-
pogna. (Also </. APPENDIX.)
Sampo'gna (It.) A rustic reed, or
flageolet.
Sanctus (Lat.) A division of the Mass.
Sanft (Ger.) Soft, low. . . Sanft'gedackt,-
a flue-stop in the organ, having stopped
pipes of soft intonation.
Sanglot (Fr., "sob".) An obsolete
agrtment) consisting of an accent or
chute sung to an interjection :
^ [RlEMANN.]
Sans(Fr.) Without.
Saquebute (Fr.) Sackbut.
Sar'aband. (Ger. and Fr. Saraban'de;
It. saraban'da?) A stately dance ot
Spanish or Oriental origin, for a single
dancer, though later changed (in Eng-
land) to a sort of country-dance. The
instrumental saraband has, as a rule, 2
8-measure reprises, in slow tempo and
triple time, generally beginning on the
down-beat, with a stress on or prolonga-
tion of the second beat (f f * p Jf f),
and often highly embellished. Its
place in the Suite, as the slowest move-
ment, is before the Gigue,
Sarrusophoneo A brass wind-instr.,
inv. (1863) by and named after the
band-master Sarrus of Paris, with a
double reed like the oboe and bassoon;
herein differing from the single-reed
SATTEL-SBALZO.
171
Saxophone, from which its key-mechan-
ism is in great part borrowed. Like
the saxophone, It is made in 6 principal
sizes, with the addition of a rare
sopranino in E\) and a contrabass in
.Ep. Its tone partakes in quality of
that of the nearly-related obol dacacda,
double-bassoon, and bombari. Little
used outside of France.
Sat'tel (Ger.)^ Nut.. .Sattel ma'chen,
in 'cello-playing, firm pressure of the
thumb on a string, in the higher posi-
tions, for obtaining harmonics, the
thumb acting as a temporary nut. . .
Sat'tellage^ half-position (in violin play-
ing).
Satz (Ger.) I. A therneor subject. 2. A
phrase, i. e. half a period of 8 measures,
the 1st half being the Vo/dersatz, the
2nd the Nach'satz (sometimes trans-
lated "fore-phrase" and "after-
phrase"). 3. A chief division of a
movement; 4. A Movement 2: 5.
The science of harmony and counter-
point; art or style of composition;
e. g. rei'ner Satz, strict style (of writ-
ing). 6. A passage or separate portion
of a composition.
Saut (Fr.) Skip. . . Sauter, to overblow.
..Sautereau, a jack.
Sauver (Fr.) To resolve (a dissonance).
Saxhorn, A brass wind-instr. inv. in
1842 by Adolphe Sax, a Belgian. It is
essentially an improved key-bugle or
ophicleide, having from 3 to 5 valves
instead of keys. Saxhorns are con-
structed in 7 different sizes, forming a
complete series alike in timbre and
method of playing, and named accord-
ing to their fundamental tone or their
relative pitch and compass. They are
not fitted for the use of crooks. Though
extensively employed in military music,
only two, the Euphonium and Contra-
bass-tuba, have achieved a place in the
orchestra. The nomenclature of the
saxhorn family being sadly confused, a
list with the various appellations is an-
nexed :
1. Sopranino saxh. (petit saxh., petit Bugle &
pistons, Piccolo in Es.
2. Soprano saxh, (contralto saxh.j "btigle-
tfenor, Fliigelhorn in B).
3. Alto saxh. (Althorn in s).
4. Tenor saxh. (baryton en si j^, Tenorhorn
in Bi Bassflugelhorn).
5. Bass saxh. (tuba-basse en K, Basstiiba*
Euphonium, Baryton, Tenoroass in J$) t
6. Low bass saxh. (bombardon en #!>).
7. Contrabass saxh. (bombardon en st$
grave, Kontrabasstuba).
Saxhorns I to 4 are classed as bugles h
pistons; while 5 to 7 are classed as
tubas or bombardons. Their extreme
compass is :
i. in Jit>. 2. in By. 3. in Ej. 4.. in 2fr. 5, in Jfy. 6. in .|>. 7. In /?;>.
For the orchestra there are also made a
bass in , a contrabass in C\ , and a
low bass in /\ ; and all members of the
family are also constructed a semitone
lower in pitch than shown above.
Saxophone. An instr. of a type inv.
about 1840 by Adolphe Sax of Dinant-
sur-Meuse, Belgium. It is a wind-in-
str., of metal, having a conical tube
with recurved bell, and clarinet-mouth-
piece witji single reed, the key-mechan-
ism and fingering also being similar to
those of the clarinet. It is an " omni-
tonic" (chromatic) instr., with a mel-
low and penetrating tone of veiled
quality partaking of that of the clari-
net, cor anglais* and violoncello, but
very sonorous, and of remarkable
homogeneity in all registers and sizes ;
6 principal sizes are made, at intervals
of a fourth and fifth apart, each size
in turn comprising 2 individuals a
whole tone apart :
1. Sopranino saxophone in F
2. Soprano * f u C
3. Contralto " " F
4. Tenor " " C
5. Baryton " " F
6. Bass " " C
The notation for this transposing instr.
is alike L_ with interme-
for all A %
sizes;
diatechromat-
i c ton es.
Chiefly used
Cis: ^ ir in military
is.
Saxotroir/ba. A valve instr. of th
trumpet family, inv. by Ad. Sax, inter*
mediate in quality of tone and scale of
tube between the Horn and Saxhorn ;
constructed, like the latter, in 7 sizes.
Sbal'zo (It.) A skip or leap. . . Sfafaf-
to- dashingly impetuously.
172
SBARRA SCHERZO.
Sbar'ra (It)
bar.
Bar ; sb> dop'fia, double-
ScagneHo (It) Bridge.
Scale. I. (Ger. Ton'lcitcr / Fr. khelle,
gamme; It seafla.) For the ancient
scales compare Mode, Greek music,
Octave-scale. A modern scale is sim-
ply the series of tones, taken in direct
succession, which form (a) any major
or minor key (diatonic scale) , or (b) the
, chromatic scale of successive semitonic
steps. (Comp. Key). . Pentaton'ic scale ^
a "5-tone" scale found in primitive
melodies of certain peoples (Scotch,
Chinese), in which the step of a semi-
tone is avoided by omitting the 4th and
7th degrees in major and the 2nd and
6th in minor. It can be played on the
piano by touching 5 successive black
keys, beginning on F$ for major, and
on Ify for minor. The ancient Greek
chromatic scale also had five tones.
2. The series of tones producible on
various wind-instr.s is also called a
scde^ whether the series is diatonic or
not ; the term is also used for the com-
pass or range of a voice or instr, Har-
monic scale, the series of higher partial
tones (see Acoustics). 3. (Ger. Men-
sur*; ^ Fr. /talon.) In the tubes of
wind-instr.s, especially organ-pipes, the
ratio between the width of bore and
the length; this varies in organ-pipes
from about 1 : 10 to 1 : 24, a broad
scale yielding a mellow, sonorous tone,
and a narrow scale yielding a sharp
and thrilling, or a thin, stringy tone.
Scannet'to, Scannel'lo (It) Same as
Scagnello.
Sceman'do (It) See Diminuendo.
Sce'na (It) i. In the opera, a scene
(Fr. scene, Ger. Auftritt), i. e. a divi-
sion marked by the entrance or exit of
one or more performers. -2. An ac-
companied solo of a dramatic charac-
ter, consisting of arioso and recitative
passages, and frequently terminating
with an aria, then being termed scena
eda'ria.$. A stage.
Scena'rio (It.) i. The plot of a dramat-
ic work. 2. A skeleton libretto of
suck a work, sketching the course of
the plot, and giving entrances and exits
of ^leading personages, serving as a
guide to stage-managers, actors, etc.
3- A play-bill. 4 (pi.) Scena'rii, scenes,
side-scenes, decorations.
Scena'rmm. An opera-libretto contain-
ing the full dialogue, and directions for
the actors, etc.
Scene. I. A division of a dramatic per-
formance marked by a change of sce-
nery, 2 (the preferable usage). Same
as Scma I.
Schablo'ne (Ger.) A stencil, pattern ;
hence, Schablo'nenmusik^ schablo'nen-
1 hafte Musik\ uninspired composition
written to fit a cut-and-dried form, or
in mere imitation of any style; "stereo-
typed" music.
Scha'ferlied (Ger.) Shepherd's song,
pastoral ditty. ..ScM/erp/eife, shep-
herd's pipe, shawm. ..Scha'fertanz^
shepherd's dance.
Schalk'haft (Ger.) Roguish, sportive,
wanton. (Also adverb^
Schall (Ger.) Sound, resonance, resound-
ing, ringing. . . Schall' bee her, Bell 2. . .
Schall' becken, cymbals . . . Sc half loch,
(a) /-hole; (b) sound-hole...,?^//'-
stao t triangle... Schall'stuck, -trichter,
Bell 2.
Schalmei', Schalme/ (Ger.) Shawm;
chalumeau.
Schanzu'ne (Ger.) Corruption of Chan-
son,
Scharf (Ger.) Sharp.
Schau'rig (Ger.) In a style expressive
of (or calculated to inspire) mortal
dread; weirdly.
Schenenbaum (Ger.) Crescent.
Scherzan / do (It) In a playful, sport-
ive, toying manner. Also scherzan'tc,
schefze'vole, scherzo' so.
Scherz^aft (Ger.) Sportive; jocose/
burlesque. (Also adverb.)
Scherbo (It, dimin. scherzi'no.) A joke,
jest. i. An instrumental solo piece of
a light, piquant, humorous character;
hence applied to very various composi-
tions in which an animated movement
and sharp and sudden contrasts are
leading features. 2. A movement in a
sonata, concerted composition, or sym-
phony, usually in triple, sometimes in
duple, time, introduced chiefly by way
of contrast with slower movements,
consequently of a bright, vivacious,
often humorous character, with strong-
ly marked rhythm, and sharp and un-
expected contrasts in rhythm and har-
mony, requiring delicate phrasing and
shading. Its forerunner in the synv
phony was the Minuet of Haydn;
Beethoven named this movement, which
SCHIETTO SCHWER.
had entirely lost its original slow and
stately character, Scherzo, nothing of
the Minuet being left but the (much
extended) form. The Beethoven Scher-
zo is usually the 3rd movement; but
under different conditions the scherzo
may with equal propriety take the secoad
place.
Schiet'to, Schiettamen'te (It.) Plain,
simple, unembellished (also adverb).
Sdris'ma (Gk.) The difference between
the third tierce of the 8th quint (see
Temperament) and the octave of the
given tone (&% : c 32805:32768); one-
eleventh of a syntonic comma.
Schlag (Ger.) A beat, pulse; blow,
stroke. . . Schlag'feder, a plectrum...
Schlag' instrument, instr. of percussion.
,.SMag'manieren (pi.), the various
strokes in drum-playing. . . Schlag-
zither> the ordinary zither played with
plectrum and ringers; opp. to Stretch'-
zither (bow-zither).
Schla'gel (Ger.) Drumstick; mallet,
small hammer.
Schlecht (Ger., "bad"). Weak; as
schlech'ter Taktfteil, weak beat.
Schleift>ogen(Ger.) Slur. . . Schlei'fen,
to slur. ..Schlti'fer^ (a) a slide ; (b) a
slow German waltz, Landler. , , Schleif-
zeichen^ slur.
Schlep'pen (Ger.) To drag, retard...
Schlefpend) dragging.
Schluss (Ger.) Conclusion, end; close,
cadence, . . Schluss' fall, a cadence. . .
Schluss' kadenz, final or closing ca-
dence. . . Schluss 4 'note -, final note . . .
Schlusi satz^ concluding movement,
Finale . . . Schluss' striche, double-bar. . .
Schluss' zeichen, (a) the double-bar ; (b)
the hold /TN.
Schliis'sel (Ger., "key").
Schlus'selfiedel, nail-fiddle.
- ..&kte/sel-G* the note g l
on the -treble-clef line:
Schmei'chelnd (Ger.) Flattering ; in a
coaxing, caressful style.
Schmerz (Ger.) Pain ; grief, sorrow.
. . Schmertf 'haft, schmerslkh^ painful,-
sorrowful, plaintive. (Also adverb?)
Sduurtd (Ger., "beak" ; Fr. bee). /K
mouthpiece like that of the clarinet or
flageolet. . . Schwbelflote, fltite a. bee.
Schnarr'werk (Ger,) The reed-work of
an organ, or a single reed-stop. Also,
a Regal
clef*..
Schneck'e (Ger., " snail 11 )- Scroll
Schnell (Ger.) Fast, quick, rapid.
(Also adverb.). . .Schnel'Ur, (<z) faster;
as nock und nach schnelltr, gradually
faster ; (b) an inverted mordent.
Schot'tische. (Ger. Schoftisch, "Scotch,
Scottish"). A round dance in 2-4
time, a variety of the Polka ; the cos-
saise is a country-dance.
Schrag (Ger.) Oblique.
Schreib'art (Ge^.) Style.
Schrei'end (Ger.) Strident ; screaming,
screeching, squeaking.
Schrei'erpfeife (Ger.) See Schryari 2.
Schryari. i. An obs. wind-instr. de-
scribed byPrzetorius in the "Syntag-
ma". 2. The sharpest mixture-stop,
usually in 3 ranks and tuned in octaves,
beginning 3 octaves above the key
struck.
Schub (Ger.) Slide (of bow).
Schuh (Ger.) Bridge (of a tromba ma-
rina). . . Schuh' platiltanz, a kind of clog-
dance in the Austrian and Bavarian
Alps.
Schurtergeige (Ger.) Viola da spalla;
opp. to Kniegeige.
Schu'sterfleck (Ger.) Rosalia.
Schwach (Ger.) I. Weak, as schivacftcr
Taktteil, weak beat 2..Soft, faint, low}
schwdch'er^ fainter, softer.
Schwar'mer (Ger.) A Rauscher*
Schwe1)ung (Ger.) i. In mus. acous-
tics, a Beat 4. 2, Same as Tremulant.
Schwe'gel (Ger.) i. Any wind-instr.
2. A pipe, especially a flue-pipe in the
organ, the Schiue'getyfeife being an
open stop of 8 or 4-foot pitch, the
pipes slightly tapering at the top.
Schwei'gezeichen (Ger.) A rest.
Schweins'kopf (Ger., "pig's-head").
Obsolete term for Flugel.
Schwe^zerflote (Ger.) i. Fife. 2. In
the organ, an 8-foot metal flue-stop of
penetrating tone ; the same of 4-foot
pitch is called Scbwei'zerpfeife; of 16-
foot pitch, on the pedal, Schwei'zer-
flotenbass. . . Schwefzerpfeif, earliest
name of the German flute.
Schwerien (Ger.) See Anschwetten.
Schwerier (Ger,) Swell (of the organ).
SchwelTton (Ger.) Messa di voce.
SchweU'werk (Ger.) Swell-organ.
Schwer (Ger.) I* Heavy, ponderous
174
SCHWIEGEL-SECULAR MUSIC
(see Pesante).2. Difficult. . . Schwer'-
miitigi melancholy, sad.
Schwie'gel (Ger.) See Schwegel.
Schwin'dend (Ger.) Dying away,
morendo.
Schwing'iuig (Ger.) Vibration.
Schwung'voll (Ger.) With sweep and
passion.
Scialumo' (It!} Chalumeau.
Scintillan'te (It. and Fr.) Brilliant,
sparkling.
Scioltamen'te (It.) Freely, fluently,
nimbly. . . Scioltezfza^ freedom, fluency*
..Sdol'to,-a, free, fluent, agile \fuga
sciolta, free fugue, opp. to fuga obbli-
ga'ta.
Seorda'to'(It) I. Discordant, out of
tune. 2, Tuned in a manner deviat-
ing from the ordinary one. ..Scordatu'-
ra, an alteration of the ordinary accor-
datura of a stringed instr. for the at-
tainment of special effects ; e. g. Paga-
nini's tun-
ing of
the violin:
in which the
(7-string was
raised a min-
or and a majdr third respectively ; such
an alteration is sometimes called solo
fitch.
Score. (Ger. Parti tur*; Fr. partition;
It. pcirtitu'ra, partizicfne.) A system-
atic arrangement of the vocal or instru-
mental parts of a composition one above
the othei, tones sounded together being
in the same vertical line, to facilitate
reading... Close or compressed score,
see Short score. . .Full or orchestral
score, one in which each vocal and in-
strumental part has a separate staff as-
signed to it (see Owhestr a). ..Piano-
forte-score, one having the vocal parts
written out in full, generally on separ-
ate staves, the pfte.-accomp. being ar-
ranged or compressed (from the full in-
strumental score) on 2 staves Below the
rest, . . Organ-score, arr. litepftc.-score,
except that a third staff for pedal-bass
is often added below the others,.,
Short score, (a) any abridged arrange-
ment or skeleton transcript ; (b) 4-part
vocal score on 2 staves. . . Supplement-
ary score, see Partitino. . . Focal score,
(a) score of an a cappella composition ;
\b) same as pfie, -score*
Scoring, Same as Instrumentation, or
Orchestration.
Scorren'do (It) Flowing, gliding. (Also
Scotch snap or catch. The rhythmic
mo- p^ frequently recurring in many
tive Jj' * Scotch airs (the reverse of
the com- r^Sx
mon motive J . J'*
Scozze'se (It.) Scotch ; alia s., in the
* Scotch style.
Scroll. (Ger. Schnecke; Fr. volute; It
voluta.) The terminal curve of the
head in the violin^ etc.
Sde'gno (It.) Scorn, disdain; wrath
indignation . . . Sdegnosamen'te, scorn-
fully, etc. , .Sdegno'so, scornful, etc.
Sdrucciolan'do (It.) Sliding . . . Sdruc-
ciola're, to slide, by pressing down the
pfte.-keys in a rapid sweep with the
finger-nails,
Se (It,) If. . . Se biso'gna, if necessary ;
sepiofce, if you please: (Comp. Si.)
Sea-trumpet. Tromba marina.
Sec (Fr.), Sec'co (It.) Dry; simple,
unembellished (see Recitative).
Sechs (Ger.) Six. . . SechsacKteltakt, 6-8
time. ...SwrArV, seeks' laktiger Satz, a
passage, period, or theme comprising 6
measures. . .Stchsvier'telta%t> 6-4 time.
Sech^sjzehn (Ger.) Sixteen . . . Sech'-
zehntel (note), l&fa-TLQte,*.Sech'zchn~
telpause, i6th-rest.
Second. I (noun). (Ger. Sekun'de;
Fr. seconds; It. secon'da) The inter-
val between 2 conjunct degrees (see
Interval). 2. The alto part or voice.
3. (adj.) (Ger. ZTJueit-er,-e,-es; Fr.
second,-e; It secondo,-a.) (a) Perform-
ing a part lower in pitch than first ; as
second bass^ second violins; (5) lower in
pitch, as second string; (c) higher, as
second line of staff.
Secondaire (Fr.) A temps secondaire is
a weak beat.
Secondary chords* Subordinate chords.
Seconde dessus (Fr.) Second soprano.
Secon'do^a (It.) Second (adj); as
seconda don'na, the female singer tak-
ing the leading parts after the prima
donna; violi'm secondi, second violins.
..(Noun.) Secondo, a second part or
performer in a duet.
Section. In the wider sense, a short
division (l or more periods) of a com-
position, having distinct rhythmic and
harmonic boundaries ; specifically, half
a phrase (see Form).
, Secular music. Music other than that
SECUNDE SEPTET.
175
intended for worship and devotiona
purposes.
Secun'de (Ger.) See Sekunde.
Sede'cima (Lat and It) i. The inter-
val of a sixteenth. 2. Obs. name or
the fifteenth (organ-stop).
See'le (Ger., " soul"). Soundpost.
Se^gno (It.) A sign. . .Al segno, to the
sign ; Dal segno, from the sign, di-
rections to the performer to turn back
and repeat from the place marked by
the sign (jp, $;, $., , etc.) to the
word Fine, or ^ In place of the
to a double- zfc. words, the sign
bar with hold: ' = ^ = - alone is some-
times set.
Se'gue (It.) Follows ; as segue I'aria,
the aria follows. . . Seguen'do, seguen'te,
following. Also, same as Simile.
Seguen'za (It) Sequence.
SeguidiHa (Span ) Spanish dance in
triple time, some varieties slow and
stately, others lively; usually in minor,
ace. by guitar, and voice, and at times
by the castenets,
Sehn'sucht (Ger.) Longing, yearning.
. . Sehn'suchtig, in a style expressive of
intense yearning.
Sehr (Ger.) Very.
Se'i(It) Six.
Sei'tenbewegung (Ger.) Oblique mo-
tion, , . Sei'tensatz, a second or second-
ary theme, as in the sonata and rondo,
Sekun'de (Ger.) A second.
Semibiscro'ma (It.) A 32nd-note.
Sem'ibreve. (L& t $emibretfis^ A whole
note.
Semicadence. A half-cadence.
Semicro'ma (It.) A i6th-note.
Sem'icrome. Asemicroma; but former-
ly sometimes used for quaver.
Semicrotch'et. A quaver.
Sem'idemisemiqua'ver. A 64th-note.
Semidiapa'son. Diminished octave. . .
Semidiapen'te^ diminished fifth... Se-
midiates'saron, diminished fourth.
Semidi'tas (Lat.) The diminution caused
by a vertical stroke through the time-
signature.
Semi-di'tone. (Lat. semidi'tonus!) The
minor &{*&.,. Semiditonus cum dia-
pente> ininor 7th.
Semifu'sa (Lat.) Semiquaver.
Semi-grand. A small grand piano
Semiminim. (Lat. and It. sewimi'ni
A crotchet, or quaver.
Semipau'sa (Lat.) A semibreve-rest.
Semiqua'ver. A i6th-note,
Semisuspi'rmm (Lat) A crotchet-rest
Semitone. (Ger. Halb'ton; Fr. demi-
ton; It. semifao'no.') The narrowest
interval employed in modern music.
(See Interval)
Semi-tonique (Fr.) Same as chromatique.
Semito'nium (Lat) A semitone....?.
fictuni^ a chromatic semitone... S.
modi, the leading-note... S. natura f h %
a diatonic semitone.
Sera'plice (It.) Simple, plain, unaffected.
.Semplicemen'te, simply, etc...fetf-
plicitb', fon t in a simple, unaffected
style.
Sem'pre (It.) Always, continually;
throughout.
Sensible (It, u sensitive"). Notastn-
sidle, or la sensibile, leading-notet
Sensibility, con (It) See Espressivo.
Sensible (Fr.) The leading-note ; also
note sensible. (In English the leading-
note is sometimes called "sensible
note".)
Sentence. See Period, Form.
Sentimen'to, con (It) With feeling,
expressively.
SentTto (It, "felt"). With feeling,
expression, special stress.
Sen / za(It.) Without (Abbr. S.)...S>
fassio'ne, with avoidance of all marked
accents and passionate expression. . .S.
piat'ti, "drum alone" (where one per-
former plays the cymbals and bass
drum) . . . S.sordi'ni, see Sordino. . . S.
tem'po, not in strict tempo, ad libitum.
..S. di skntare, without retarding.
[Senza is often followed by a bare in-
finitive, which is then to be translated
as a participial substantive ; e. g. senza
rallentare, without retarding.]
Separation, i. An obs. term for a
passing-note between 2 tones forming a
tierce. 2. In the organ, a mechanical
device for preventing the great-organ
action from sounding its stops ; used
when the action is pneumatic and
coupled to other manuals of heavier
touch.
Sept-chord. Chord of the yth.
Septde'zime (Ger.) A seventeenth.
Septet'. (Ger. Septetf; Fr. septuor; It
176
SEPTI^ME SESQUIALTERA.
settimi'no.) A concerted l composition
for 7 voices or instr.s.
SeptZeme (Fr,), Sep'time (Ger.) The
interval of a 7th > . . Se/timenakkord
(Ger.), chord of the 7th.
Septimo'le, Septo'le (Ger.) Septuplet.
Septuor(Fr.) Septet
Sep'tuplet. A group of 7 equal notes
to be performed in the time of 4 or 6
of the same kind ia the regular
rhythm; *"+*
written: Ml Trip
Sequence. (Lztsequenftia;lt.seguen'-
za; Ger. Sequent.) i. The repetition,
oftener than twice in succession, of a
melodic motive, the repetitions ascending
or descending byxmiform intervals, The
harmonic sequence is merely the group-
ing of chords necessitated by the reiter-
ation of the rridodic figure* A diatonic
or tonal sequence employs only tones
proper to the key ; achromatic or modu-
lator^ sequence is one in which acciden-
tals are used more or less freely ; a se-
quence progressing by a whole tone or
semitone is called a Rosalia. (Also
Progression?) -2. In the R. C. Church,
a kind of hynm ; such were founded on
the melodies of the sequentia (the
jubilations of the Alleluia following the
epistle, words being in time set to the
melodies instead of the original syllables
a^e-u-i-a), whence the name. They
originated in the gth century, and mul-
tiplied to such an extent that Pius V. in
1568 expunged all but 5 (Victimse
paschali ; Veni Sancte Spiritus ; Lauda
Sion; Stabat Mater; Djesine), (Also
Prose [Lat/raw].)
Seraphi'na, Ser'aphine. A precursor
of the harmonium, inv. by John Green
in 1833.; owing to its harsh tone, it
was speedily superseded by the latter.
Serenade'. (Ger. Stand'chen; Fr. sfrt-
nade; It serena'fa.) I. An "evening
song ;" specifically, such a song sung
by a lover before his lady ? s window.
2. An instrumental composition imi-
tating the above in style. From these
was evolved the
Serena'ta (Fr. and It. ditto; Ger. Sere-
nafde.) i. A species of dramatic can-
tata greatly hi vogue during the i8th
century. 2. An instrumental compo-
sition, midway between the Suite and
. Symphony, but freer in form than either*
consisting of 5, 6, or more movements
for very various combinations of instr.s,
and in chamber-music style. The earlier
serenatas were invariably concerted
pieces ; they were also called Cassations
and Divertimenti.
Sere'no (It.) Serene, calm, tranquil.
Serinette (Fr.) A bird-organ (small
barrel-organ used in training song-
birds).
Se'rio,-a (It.) Serious. . . C^pera seria,
grand or tragic opera ; opp. to Opera
buff a. . Tenor e serio, dramatic tenor.
Serio'so (It.) In a serious, grave, im*
pressive style.
Serpent. (It, serpen'te) A nearly obs.
wood-wind instr., still used in some
French churches, but seldom met with
in the orchestra ; inv. by Canon GuiU
laume of Auxerre in 1590. It belongs
to the Zinke (Cornetto) family; the
modern forms have a recurvate bell,
and a cupped mouthpiece set in a brass
crook forming a right angle with the
first bend of the serpentine tube. The
tube is of wood, covered with leather,
about 8 feet long, and 8va.
provided with 6 finger- ... h*
holes and a varying g ' , / ' EE;
number of addition- J/ ~
al keys. Compass: **
the serpent being a transposing instr.,
in Jfy, the notes are written a degree
higher. The tone is variously described
by French authorities as "harsh and
savage", and as a "cold, horrid howl-
ing". It is replaced, in the modern
orchestra, by the bass tuba (or ophi-
cleide). -The Serpentcleide resembles
the ophicleide, but retains the wooden
tube. The Contra-serpent produces 16-
foot JEfa. Some old organs have reed-
stops named serpent.
Service. In the Anglican Liturgy, a
complete series of mus. settings of the
canticles, etc., the free composition of
which is sanctioned by usage. Ver-
sicles, responses, chants, and anthems,
are excluded. The full list for morning
and evening prayer, and communion,
includes the Venite exultemus, Te
Deum, Benedicite, Benedictus (domi-
nus), Jubilate, Kyrie, Credo (Nicene
Creed), Sanctus, Agnus Dei, Benedic-
tus (qui venit), Gloria, Magnificat,
Cantate domino, Nunc dimittis, and
Deus misereatur; all composed for
chorus and soli, with or without accomp
by organ or orchestra.
Sfcsquial'tera (Lat., " one-half more".)
SESQUINONA-SHARP.
177
I. A perfect fifth, its" ratio to the prime
being i : i^- = 2 : 3. 2. In mensurable
music, the proportion marked by the
signature |, indicating that the time-
value of 3 minims is then equivalent to
that of 2 before. 3. A mixture-stop in
the organ ; the name is properly appli-
cable to a mutation-stop a fifth above the
fundamental tone or some given octave
of the 'latter, but is ordinarily used to
designate a compound stop producing
the 3rd, 4th, and 5th partial tones, or
their octaves ; it has from 2 to 5 ranks.
Sesquino'na. The lesser whole tone,
its ratio being 9 : 10.
Sesquiocta'ya. The greater whole tone,
its ratio being 8 : 9.
Sesquiquar'ta. The major third, its
ratio being 4: 5.
Sesquiquin'ta. The minor third, its
ratio being 5 : 6.
Sesquiter'tia. The perfect fourth, its
ratio being 3 : 4*
Ses'quitone. A minor third, i. e. ij
tone.
Sestet'. (It. sestet* to.) A sextet.
Sesti'na (It.) A sextuplet
Se'sto,-a (It.) Sixth... Sesta (noun),
interval of a sixth.
Ses'tole, Ses'tolet. A sextuplet.
Settimi'no (It.) A septet.
Set'timo,-a (It.) Seventh.,, Seftima
(noun), interval of a 7th.
Setz'art (Ger.) Style of composition . . ,
Setfkunst, art of composition. ..
h^ crook.
Seul,-e (Fr.) Alone, solo.
Seventeenth, i. Interval of 2 octaves
plus a tierce. 2. Same as Tierce (organ-
stop).
Seventh. (Ger. Sep'time; Fr. seftilme;
It setftima.) See Interval. . . Seventh-
chord) a chord of the 7th, composed of
a root with its third, fifth, and seventh.
Severamen'te (It) Strictly, with rigid
observance of tempo and expression-
marks.
Sext. I, The interval of a sixth. 2.
The office of the fourth canonical hour.
3. A compound organ-stop of 2 ranks
a twelfth and a seventeenth) a sixth
apart.
Sex'ta(Lat) Sixth... (Mm*.) Thein,
terval of a sixth ; aiao> a sixth part (see
Qvintus).
Sex'te(Ger.) A sixth.
Sextet'. (It. sestet to: Fr. sextuor; Ger.
Sextet?.) A concerted composition for
6 voices or instr.s ; or for 6 obbligato
voices with instrumental accomp.
Sex'tole, Sex'tolet. A sextuplet
Sex'tuplet. . A group of 6 equal notes
to be performed in die time of 4 of the
same kind in the regular rhythm. In
the true sextuplet the 1st, 3rd, and 5th
notes are accented ; the false scxtuplet
is simply a double triplet
Sex'tus (Lat.) A sixth part (see Sexto).
Sfoga'to (It, u exhaled 1 '). In vocal
music, a direction to render the passage
so marked in a light and airy manner.
. . Soprano sfogato, a high soprano ;
compass from c l to <? (/ 3 ) .
Sforzan'do (It, "forcing, pressing").
A direction commonly applied to a
single tone or chord, indicating that it
is to be performed with special stress,
or marked and sudden em- r
phasis. Abbr.j/k, sf.\ sign > , A, f
(Also Sforza'io)
Sfuggi'ta (It) Avoided, eluded; as
cadenza sfuggita*
Sgallinaccia're (It.) To sing with a
harsh, uneven, quavering voice* (From
galtinac'ciQ, a turkey-cock.)
Shade. "Shading of pipes", the plac-
ing of anything so near the top of an
organ-pipe as to affect the vibrating
column of air which it contains.
[STAINER AND BARRETT.]
Shake. Same as Trill. . . Shaked grace*
(obs.), the snaked Beat, Backfall, Ca-
dent, and Elevation, and the Double
Relish.
Shalm. A shawm.
Sharp (noun). (Ger. Kreuz; Fr. ttiesej
It. die'sis.) The sign Jf, which, set
before a note 'or on a degree of the staff,
raises its pitch by a chromatic semitone.
.*DoubU-sharfrti& sign x (formerly
also J, ;$ etc.), raising the pitch of
its note by 2 chromatic semitones (= 1
tone on tempered instr.s}.
Sharp (adj.) I. (Of tones or instr's.)
Too high or acute in pitcL-^ (Of in-
tervals.). Major or augmented. }* (Of
keys.) Having a sharp or sharps in the
signature. 4, (Of organ-stops.; Shrill.
5. (Of digitals; pL) The^black keys;
also any white key a semitone above
another.
SHAWM-SIGNS.
Shawm. (Ger. Schalmei'.) An obs.
Sight-reader. A musician capable of
double-reed wind-instr., the precursor
correctly performing a piece of music
of the oboe, the prime difference be-
at sight.
tween them being that the reed of the
shawm was set in a cupped or globular
mouthpiece, whereas the oboe-reed is
held directly betwixt the lips. The
chanter of the bagpipe is probably the
Signs. (Compare Abbreviation, Nota-
tion, Segno.) [Italicized terms indicate
that the signs are no longer in use,]
* Dot. Staccato. Sforzato.
sole surviving form of the ancient
T Forte tenuto.
shawm. (Also Shalm) [N. B. The
/TTTi Bebung. Mezzo staccato.
Fr, chalunteau had a sin fie rced.l
. . . . . . ^ e j^ ^
Shift. A change in the position of the
left hand, in playing the violin, etc,,
from the first position, in which the
or one syllable ; in Tonic
forefinger stops its string a semitone or
tone higher than the pitch of the open
Sol-fa, a line under the
letters).
string, according to the scale ; the 2nd
^ Hold.
position is called the half-shift, the
( (Notation, 3.)
3rd the whole shift, and the 4th the
double shift. When out of the 1st po-
jf (Abbreviation.)
sition the player is said to be " on the
^S' ;ifc Presa
shift", and shifting up or down, as the
, *J t \n* * iCacl.
case may be. (See Position)
T* *p "$" \ Segno.
Shutter. In the organ, one of the blinds
*-" /. Double relish.
forming the front of the swell-box.
Si. i. (It.) One, it ; often written in
directions, as si leva il sordino , take off
^ $? 3$ Double-sharp.
the*mute ; si le'uano i sordini, take off
=H 11 ill JL : pe **
the mutes ; si pia'ce, si libet (Lat.), at
MI'. ".II II' Jttffrts (2 and 4 times).
pleasure ; si repli'ca, repeat (= Da
Capo); si segue, proceed; si tace, be
silent ; si volta, turn over. [Beethoven
ffl Repetition of words.
x or + Thumb (pfte.-music).
writes (Ufa Quartet, op. 74): " Si ha
xJ Double-sharp. "
s'immaginar'la battuta di J", meaning:
" Imagine the time to be 5-"] 2. The
7th of the solmisation-syllables ; hence,
Breathing-mark. Back-
fall, CouU, Pinc^
Tremblement.
name of- the note B in France and
Italy. . . Si contra fa, see Mi. (Com-
99 Double Backfall.
Tenuto. Pesante.
pare Key, and Solmisation)
Sicilia'na (It), Sicilienne (Fr.) Dance
-^ "^- Mezzo legato.
of the Sicilian peasants ; a kind of pas-
torale in moderately slow tempo and
^ ^ Bind. Slur. Tie.
C Accent. Coute. Portde
6-8 or 12-8 time, frequently in minor,
voix.
and common (especially in the r8th
5 Pine/.
century) as an andante movement in
>^ Tasto solo.
sonatas or vocal music. (Not SiciBa'-
no)... Alia sicitiana, in the style of the
above.
C Double Appoggiatura.
x^x, Suspension.
Side-drum, See Drum.
\ Cadent.
Sieb (Ger.) Soundboard of the organ
(Lat. cribrum).
Sifflet (Fr.) Whistle. . . S. de Pan, Pan-
^ Plain beat.
\or/ Accent. Nachschlag. Por-
tamento. Schleifer.
** Chute.
dean y\$e$...Sijflet-diapason, pitch-
*+ Port de voix t
pipe.
\ ( \\) Backfall (Double Back*
SifflSt (Ger.) In the organ, an open
metal flue-stop of broad scale and I or
2-foot pitch. Also Suf'Jlot, Sub'flot,
Wtii'pfdfr.
^ Springer.
^ Acciaccatura. Arpeggio.
SIGNS.
179
/ (//) Single (Double) Relish.
nected are to be played
with the same hand
~i fffff (ADDreviation?.)
~ -~H^ Crescendo.
(b) that a part is trans-
ferred from one staff to
__ Decrescendo,
another.
f i Staccatissimo. Martellato
tr, xw or A/ Direct
> Forte piano (fp).
AV Inverted Mordent. Ca-
> or < Rinf orzando.
dence.
A v > Sforzato.
fy Mordent.
V V Up-bow. Breathinglmark
&"A\V) ,**# etc. Trill.
Martellement. Port de
voix. Aspiration.
A Down-bow (violoncello
** (& % %) Turn (Back-turn}.
# Take damper-pedal (ob-
solete).
music).
. Y Heel and toe (organ-mu-
sic; better as given be-
7 ,.\
# $ + Release damper-pedal,
o Sign of the dimin. triad
(e. g. vn).
low;.
or Harmonic mark. Open
W \W Martellement double and
string. "
w " triple.
Tasto solo (Thorough-b.).
/\ Nachschlag.
Triple time (see Nota-
PI LJ Down-bow.
tion, 3), '
H] Pesante.
p Arpeggio. Acciaccatura.
In modern pfte.-mu-
L- sic, signifies that 2
notes so connected are
4 Thumb-positions (violon-
cello-playing).
o A Heel and toe (organ-mil-
(or ^ V) sic). Over notes for
right foot, under notes
for left foot.
@)j to be played (a) with
S '3 ' the same hand; (l>) with
tfb E*^ one finger.- In voca]
? music, signifies voci
A V Change toes on organ-
pedal.
A^A Slide same toe to next
dwise:
Examples:
O A A O A
J | |
. "RmH
A A O
A . A ^
i t i 1 Organ-music, pedal; notes
A A
played with alternate
toe and heel of same
foot.
Bind.
Brace.
Trill. Airottava. (A
mark of continuation.)
Balancemmt. Tremble-
ment*
Tremblement.
Arpeggio.
I from one staff to another,
shows (a) in pfte.-mu-
sic that notes so con-
i> 2 3, 4 etc. (See Numerals.)
> i etc. (See Harmonium-music.)
/, 4, f etc, (See Chord, Thorough-
bass.)
I n_ 7 HI' (See Chord.)
*'4*'\6 r (See Foot.)
a' b" c ; "
_ _ ^etc. (See Pitch, i.)
abc
A, B, C, J
r ' Gamma.
* m m p |jp ^ [See Tambourine.)
1. M. J = 60 (See Metronome.)
i8o
SIGNALHORN SISTRUM.-
Civ Bw.
In organ-music, signifies " change
hands on chord ".
In pfte.-music, signifies " hold chord
with pedal".
Signalliorn (Ger.) A bugle.
Signature. The signs set at the head of
the staff at the beginning of" a piece or
movement, indicating the key and
measure in which it is written. The
chromatic sign or signs are termed the
key-signature j the figures or signs in-
dicating the measure, the timt~$igna-
fare t or rhythmical signature.
Signatu'ren (Ger., pi.) The figures and
signs employed in thorough-bass nota-
tion.
Signe(Fr.y Sign.
Sig'num (Lat) Sign. , , Signa impli'cita,
indicicflia, intrin'$eca> see Notation,
3, Motto.
Signidilla (Span.) See Segtdditta.
SiHtendehnung (Ger.) Slurring a sylla-
ble, i. e, singing it to more than one
tone.
Silence (Ft), Silen'zio (It.) A rest.
(Comp. Pause, Soufir.)
Sillet (Fr.) Nut; specifically, petit 7-
Ztf, nut at upper end of neck ; grand
//*/, nut at tailpiece.
Similar motion. See Motion,
Si'mile (It, " similarly, in like manner. 11 )
A direction to perform the following
passage or passages in the same style as
a preceding similar passage ; used to save
the trouble of repeating phrase-marks
and other signs.. . The simile-mark is
; (see Abbreviation), [Simile^ be-
: ing an adverb, is indeclinable,
and has no plural form simili; the Lat
term is simi&ter.]
Simple. (Of tones and intervals.) Not
compound. (Of counterpoint, imita-
tion, , rhythm etc.) Not compound or
complex, undeveloped, not varied.
Sin* (It) Abbr. ot Sino.
Sinfoni'a (It.) i. A symphony. 2. An
overture (to the earlier Italian operas).
Sinfonie' (Ger,) Symphony (usually
Symptoms').
Sing'akademie (Ger.) A choral sing-
ing-society.
Sing^ar (Ger.) Singable ; cantabile . . .
Sehr singbar voSssutragen, perform in
a very singing style.
Sing^end (Ger.) Singing, melodious
cantabile.
Sing'etanz (Ger.) Dance accomp. with
song.
Sing'fuge (Ger.) Vocal fugue.
Singhiozzau'do (It.) Sobbingly, catch-
ing the breath.
Sing^manieren (Ger., pi.) Vocal graces.
Sing'sdmle (Ger.) Singing-school .
Sing^spiel (Ger.) The German national
form of the opera, established during
the 2nd half of the i8th century by J.
A. Killer, whose guiding rule was ta
give simple, folksonglike melodies to
singers representing plain characters,
whereas to " gentlefolk" he gave arias;
the instrumental accomp. is also kept*
subordinate to the vocal parts. The
term is also used for any light opera or
operetta with spoken interludes ; like-
wise, by extension, for more preten-
tious operas and mus. dramas.
Sing'stimme (Ger.) The singing-voice,
the voice.
Sini'stra (It.) Left ; mono s., left hand;
cotta j., with the left hand.
Sink-a-pace. See Cinque-pace.
Si'no (It.) To, up to, as far as, till ; sino
(or sin) alfine, to the end.
Si'ren. (Ger. Sire*ne; Fr. rirene.) An
acoustical apparatus for determining the
vibration-number of a given tone.
Sir Roger de Coverley. An ancient
English dance-tune in 9-4 time, still in
vogue as a country-dance.
Siste'ma (It.) Staff.
Sis'trum (Lat.) An ancient mus. instr
of Egypt and the East : a sort of rattle
SITOLE SNARE-DRUM.
181
consisting of loose metal rods set in an
oval frame, and shaken by a handle.
Sitole. See Citole.
Sitz (Ger.) Seat ; situation, place.
Sixieme, Sixte (Fr.) Sixth; sixte
ajoutie, added sixth.
Sixteenth-note. (Ger. Sech'zehntel
[-note}; Fr. double-croche; Itsemicro'-
ma.) A semiquaver (Ji). Sometimes
abbr. to Sixteenth. ..idth-rest, a semi-
quaver-rest (^). Comp. Note, Rest.
Sixth. (Ger. Sex*te; Fr. sixte; It.
sSsta.) See Interval. . . Chord of tfa
sixth, first inversion of a triad. . . Chord
of the added sixth (Fr. accord de
sixte ajoutfe), the sub-
dominant triad with
sixth added, e. g. : ^
. . . Chord of the extreme sixth, see Ex-
treme.
Sixtine (Fr.) Sextuplet
Sixty-fpurth-note. (Ger. Vierund-
sech'zigstel [-note]; Fr. quadruple
croche; It quattricro'ma.) A hemi-
demisemiquaver (JT); sometimes abbr.
to Sixty-fourth . . . b^h-rest, ( jj).
Skip. (Ger. Sprung; Fr. saut; It sal'-
written:
played;
or () a portamento.
Slide-horn. See Slide-trumpet.
Slider. See 0^, (i).
Slide^trombane,-trumpet. One played
by the use of a slide instead of keys or
valves.
Sliding relish. An old harpsichord-
grace written : pla;
to?) Melodic progression by an inter-
val wider than a second ; disjunct (or
discrete) progression.
Skiz'ze (Ger.) Sketch ; a short charac-
teristic piece, or bit of salon-music,
without fixed form.
Slan'cio, con (It.) With vehemence,
impetuously. (Sometimes written islan-
do, for the sake of euphony.)
Slargan'do, Slargan'dosi (It.) Grow-
ing slower ; comp. Largando.
Slentan'do (It.) See Slargando.
Slide. I. A movable U-shaped tube in
the trombone (sometimes in the trumpet
and French horn), which is pushed in
and out to alter the pitch of the tones
while playing. It is a more perfect
device than the valve, because it changes
only the length of the vibrating air-
column, not the direction and form of
the wind -current ; and also because per-
fect purity of pitch is obtainable [corap.,
however, art. Trumpet, last sentence] ;
but it is technically more difficult of
manipulation, 2, In the organ, a
slider. 3. A grace (Ger. Schld'fer;
Fr. couU), either (a) a diatonic series
of 2 or more tones rapidly ascending or
descending, the notation of which varies
greatly :
Slissa x to (It.) Slurred.
Slur. i. (Ger. Legaftobogen; Fr. liaison;
It legatu'ra?) A sweeping curve drawn
over or under 2 or more notes, signify-
ing that they are to be executed legato.
2. In vocal music, the slur unites 2
or more notes to be sung to the same
syllable and in one breath ; the notes
so sung are also called a slur. . . Slurred
melody \ one in which 2 or more tones
are sung to one syllable ; opp. to sylla-
bic melody*
Small octave. See Pitch. . , Small or-
chestra, see Orchestra.
-Smanian'te, Smanio'so (It.) In an
impetuous, passionate style.
Sminuen'do, Sminiii / to (It) Dimin-
ishing and decreasing (in speed and
force).
Smoren'do (It) Dying away.
Smorfio'so (It) With affected expression.
SmorzanMo (It.) "Fading away 1 ';
equiv. to Morendo.
Snap. See Scotch map*
Snare-drum. See Side-drum, tinder
Drum*
182
SOAVE-SOLMISATION.
Soa've (It.) Suave, sweet, soft. . . Soave-
men'te, suavely, etc.
Socket. In a clarinet, the short, rounded
joint connecting the mouthpiece with
the "top-joint".
Sogget'to (It) Subject, theme. This
term is properly applied to a homogene-
ous theme of moderate length, a longer
one being called an andamento, and a
short, motive-like theme an attacco
(though this last term is practically ob-
solete).
Sognan'do (It.) Breaming, in a dreamy
manner.
Son. For sol, in the Tonic Sol-fa sys-
tem.
Sol. i. The fifth of the Aretinian sylla-
bles. 2. Name of the note G in France,
Italy, etc.
Solem'nis (Lat.) Solemn.
Solen'ne (It.) Solemn ; splendid, pom-
pous. . . Solennemen'te, solemnly, etc. . .
Solennita f , solemnity, pomp.
Solia 7 (It.) i. Scale, gamut. 2. Music
in general ; lattere la solfh, to beat
time. 3. A conductor's baton.
Sol-fa (Engl.) l (verb). To sing sol-
feggi; specifically, to sing to the sol-
misation-syllables, 2 (noun). Solmisa-
tion, and the syllables employed in it ;
a solfeggio on those syllables. Tonic
Sol-fa, see Tonic*
Solfeggia're (It) To soUfa.
Solfeggio (It., pi. solfeggi; Fr.
A vocal exercise, either on one vowel,
or the syllables of solmisation, or to
words.
Solid chord. One the tones of which
are performed simultaneously ; opp. to
broken. (" Flat chord" is preferable.)
So'lito (It.) Accustomed, habitual...
A I solito, as usual, in the customary
manner.
Solmisation. A method of teaching the
scales and intervals by syllables, the in-
vention of which is ascribed to Guido
d'Arezzo (b. 990?). It is based, in
opposition to the Greek theory of tetra-
chords, on the hexachord or 6-tone
scale : the first six tones of the natural
major scale, c d e f g a, were named
ut, re, mi, fa, sol, la, (the initial syl-
lables of the successive phrases of a
hymn to St. John beginning Ut queant
laxis, these syllables happening to fall
on these 6 tones), forming the natural
hexachord (hexachor* dum natura'le)
with the semitonic step at mi-fa; the
syllables were further applied to 2
other hexachords, the hard hexachord
(hex, du'rum) g a b c d e (so called be-
cause constructed with the hard B =
B or B durum}, and tne soft hexa-
chord' (hex. moYle) f g a b\) c d (with
the soft B = B|? or B molle)\ in each,
the step mi-fa was in the same relative
position. The entire naus. scale, ex-
tended beyond that of Greek theory by
adding I tone below (Gamma F = G),
and 4 above, embraced 7 hexachords,
the higher ones being mere reduplica-
tions of the original 3. In the follow-
ing View, the solmisation-names of the
notes will be found by reading up from
(and including) the letter-name ; thus
low G was called Gamma-ut^ its octave
G sol re ut, and its double-octave like-
wise G sol re ut; B, honever, was
called only jBfaorU mi, ac :ording as
it occurred in the soft or i *ord hexa-
chord.
VIEW OF THE GUIDONIAN HEXACHORDS.
IV. H<
III. Hex
II. Hex, n
I. Hex. durum ut
Modern letter-name G
:x. (
me
atui
re
A
VI]
VI.
V.He
Lurum (with B mi)
lie (with B fa) ut
ale ut re mi fa
< H
Hex
x. n
ut
re
sol
ex.
..m
atu
re
mi-
dur
Dlle
rale
mi
II
b
um
(wit
ut
fa
sol
ci
(wit!
hB
re
sol
la
di
tiB
fa)
mi
E
e
mi)
ut
fa
fi
ut
re
sol
*'
re
ml
la
a>
m)
s
HI
fa
sd"
sol
la
Ja
e*
c
d 9
mi
T
ii
c
sol
d
Ja
e
f
*
a
Medieval " T
A
&
C
D
E
F
G
a
5
c
d
e
f
g
aa
i
cc
dd
ee
"When a melody overstepped the com-
pass of one hexachord, a transition,
termed a mutation, was made from one
set of syllables to another; the change
of syllables was preferably effected be-
tween the natural and soft, or natural
SOLO SONG.
183
and hard, hexachords (a direct transi-
tion from hard to soft, or vice versa,
being less smooth because of the clash-
ing significance of fy and Bty, ^d
usually after fa (sol = re) in ascending
and after mi (re ~ la) in descending.
These mutations exhibit a dawning of
the modern idea of modulation, the
final victory of which, in establishing
the major and minor modes and freely
transposable scales, disposed of the
system of hexachords. During the
supremacy of the medieval modes, this
system sufficed for the composer's
needs ; but after the recognition of the
leading-note, and the general adoption
of a corresponding 7th syllable si early
in the I7th century, the modern 7-tone
scale, or heptachord, gradually super-
seded the hexachord in theory and
practice. Many proposed changes in
the syllable-names met with merely
local and transient favor; among them,
those of Waelrant of Antwerp in 1550
(bo, ce, di, ga, lo, ma, ni), called Bo-
cedisation or Bobisation), Pedro d'U-
renna in 1620 (ni for si), Hitzler of
Stuttgart in 1628 (la, be, ce, de, me,
fe, ge, called' Bebisation), Graun in
1750 (da, me, ni, po, tu, la, be,
called Damenisation). In Italy, and
afterwards in all Europe excepting
France, the syllable do (presumably
first used in 1673, by Bononcini) has
ousted the original ut (comp. Do). In
both France and Italy the syllables
have^ in everyday usage, quite sup-
planted the letter-names of the notes,
which are employed in Germany, Hol-
land, England, and the United States.
So'lo (It., "alone ",) Properly, a piece
or passage for a single voice or instr.;
by extension, any non-concerted piece
or passage in which a single voice or
instr. predominates. As an orchestral
direction, Solo (or simply I) marks a
passage where one instr. (ist violin, 1st
flute, etc.) takes a leading part, In a
2-hand art. of a pfte. -concerto, Solo
marks the entrances of the solo pfte.
Violino solo signifies, according to
circumstances, either " violin alone",
or ** ist violin" (accompanied). Solo
organ^ see Organ. . . Solo fitch, a scor-
datura temporarily employed by a solo
player for obtaining unusual effects. . .
Solo quartet, (a) a quartet consisting of,
4 singers (4 u solo voices"); (b) a com-
position or passage in 4 parts for 4
singers; (c) a non-concerted composi-
tion for 4 instns, one of which has a
leading part. . . Solo stop, see Stop.
So'los&iger (Ger.) A solo singer..
So'lospiekr, a solo player. . . So'lostim*
me, a solo part or voice.
Sombrer (Fr.) In vocal music, to give
to the tones, for dramatic effect, a
sombre, veiled, yet intense expression.
Soni'raa (It.) Utmost, highest, extreme;
greatest.
Som'merophone. An instr. of the
bombardon or saxhorn class, inv. by
Sommer of Weimar in 1843; a k called
Euphonion, Euphonic Horn.
Sommier(Fr.) Windchest.
Son (Fr.) Sound ; tone. . . Son. harmoni-
que, an harmonic ; son plein, a round,
full tone.
SonaTrile (It) Resonant, sounding,
Sonan'te (It.) Sounding, resounding;
sonorous, resonant,
Sona're (It) To sound ; to play (on an
instr.). t .Sonare alia men'te, to impro-
vise.
Sonata (It.; Fr. and Ger. Sontfte.) The
original Italian word, suona'tct, meant
any instrumental "sound-piece" in
contradistinction to a cantata (vocal
composition). The old sonata da
camera and sonata da chiesa were such
instrumental pieces, for secular and
sacred use respectively. The modern
Sonata (comp. Form) is an instrument-
al composition in 3 or 4 extended move-
ments contrasted in theme, tempo, and
mood . . . Sonata-form , see Form . . .
Double sonata, a duo for 2 soloinstr.s,
in sonata-form.
Sonatina (It.) A short, easy sonata.
Sonatina (It.), Sonati'ne (Fr, and
Ger.) A short sonata in 2 or 3 (seldom
4) movements, the first having the
characteristic first-movement form,
though the development-section is
either very short, or quite omitted
Sonato're (It) A player on any instr.
Sone'vole (It) Same as Sonabilt.
Song. I. (Ger. Gesang; Fr. chant; It
can'to) Vocal musical expression or
utterance. 2. (Ger. Lied; Fr, chanson;
It. canzo'ne.) A short lyrical or narra-
tive poem with a musical setting char-
acterized by a structure in simple
periods. Songs .may be divided, ac-
cording as they are classed as spon-
taneous popular productions or the re-
i8 4
SONNANTE-SOSPIRANDO.
suit of artistic inspiration, in 2 broad
groups, jfe/-j0jT and art-songs ^ though
the former were doubtless originally
conceived by specially gifted singers of
earlier times, and the latter 'are fre-
quently written with studied - simplicity
\volks th&mlicK). Further, art-songs
are either strophic (i.e. each strophe
sung to the same tune, with a deviation
at most ir> the final one), or composed-
through (see Durch' komponieren),
The so-called $mg-form (Ger. Lied'-
form), either vocal or instrumental has
3 sections and 2 themes, the second
contrasting theme occupying the 2nd
section. (See Form.)
Sonnante (Fr.) Same as Sto&lspkt, or
Lyre 2. The steel bars are sometimes
replaced by fixed bells.
Sonner le tambour (Fr., " to beat the
drum " ; also router.) Said of the G-
string on a 'cello when a jarring sound
is given out on playing certain notes.
Sonnerie (Fr.) i. Same as Carillon
1 (peal or chime of bells), 2. A military
call or signal.
So'no (It.) Sound ; tone.
Sonom'eter. An apparatus for acoustic
experiments with strings, consisting of
a sounding-board provided with bridges
over which 2 strings may be stretched.
Sonoramen'te (It.) Sonorously, reso-
nantly, resoundingly.
Sono'ro (It.) "With a sonorous, ringing
\srnt..* Sonoramen'te, sonorously, res-
onantly, resoundingly. ..Sonorita', con^
sonorously, ringingly. ..Sono're, sono-
rous, resonant" (pi.; U note implied).
Sonor'opliane. A variety of bombardon;
So'nus (Lat) Sound ; tone.
So'pra (It.) On, upon ; above, over,
higher. . . Sopradominan'te, dominant.
. . Soprato'nica, supertonic. . . Sopra, una
corda t on one string. ..Co' me sopra, as
above. ..Nella parte di sopra, in the
{higher (or highest) part
Sopran' (Ger,) Soprano . . * Sopran'-
sthlussel, treble-clef. ..Sopran'stimme,
soprano voice or part
Sopra'na corda (It) The chanterelle.
(ST. AND B.)
Soprani'sta (It.) A soprano singer;
specifically, a male soprano (castra'to).
Sopra'no(It; Ger. Sofrm* /Fr.<feww.)
The highest class or division of the
treble, has a normal compass from c ! to a 9
Q jf~ ^ tones of which, ex-
|fo ]/ Mpt ^ extremes, are
;f - common to both the
chest-register and head-register ; solo
voices often reach above ^ and pheno-
menal ones up to g* or even r 4 . There
are also boy-soprani, and male soprani
(of these latter 2 classes, the falsetti
\alti natura'lii tenorl f ni\^ and castraf-
ti). Soprano dramma'tico, a female
soprano of dramatic power. ..Soprano
leggifro, a light soprano. * Mezzo-
soprano ^ see Mezzo. . . Soprano natura'-
le, natural soprano, a male singer
having an unusually developed falsetto
of soprano quality. . . Soprano sfoga'to,
see Sfogaf o . Soprano-clef , the &-clef
on the first line, , . Soprano string the '
chanterelle.
Sordamen'te (It) With a veiled, muf-
fled tone.
Sordelli'na (It.) An Italian variety- of
the musette (bagpipe), provided with 4
pipes which could be opened and closed
at will
Sordino (It., ^sordini; Ger. pi. Sord?-
nen.) I. A mute ; con sordini, with
the mutes ; senza sordini, without ths
mutes; si tfuano i sordini, take off the
mutes. 2 . Damper (of the pf te, ) ; senza
sordini, with damper-pedal ; so used by
Beethoven, who employed con sordini
to express the release (raising) of the
damper-pedal, instead of 4&.^-3. A kit.
(It) Muted; as clarinetto
tromba sorda*
Sordo'no (It; Ger. Sordun'; Fr. sor-
done.) I. An obs. wood-wind instr. re-
sembling the bombard, with a double
reed and 12 ventages, constructed like a
bassoon, and in 5 different sizes. 2.
An obs. reed-stop 'in the organ, with a
perforated foot and a chimney, of 4, 8,
or i6-foot pitch and muffled tone.
Sordun 7 (Ger.) See Sordono.> Also, a
mute for the trumpet, in the shape of a
perforated disk of wood.
SorgTaltig (Ger.) % Careful, cautious,
(Also adwrfy
Sorti'ta (It.) i. A closing voluntary.
2. The first number sung by any of
the leading characters in an opera.
Sospiran'do (It, " sighing, sobbing".)
A vocal effect produced by interposing
a rest between two tones in such a way
SOSP1REVOLE SPIEL.
185
syllables, the singer catching his breath
as if deeply moved.
Sospire'vole, Sospiro'so (It.) Sighing
deeply ; plaintive, mournful.
Sostenen'do, Sostenen'te (It) See
Sosttnufto.
Sostenu'to (It, abbr. sost.; superl. so-
stenuti/simo} "Sustained, prolonged";
sometimes implying a tenuto, at others
a uniform rate of decreased speed ; e. g.
andante sostenuto. . .Pin sostenuto,
equiv. to meno mosso. Standing alone,
as a tempo-mark, it is nearly equiv. to
andante.
Sostmente pianoforte. Apfte.inwhich
some device is employed for " sustain-
ing" or prolonging the tones, such as
the numerous piano-violins, the lyri-
chord, celestina, claviol, etc.
Sot' to (It.) Below, under. . . Sottwoce,
in an undertone, os>ife...Sottodomi-
nan'te, subdominant. ,
Soubasse (Fr.) Subbass.
Soubrette (Fr.) In comedy and comic
opera, a maid-servant or lady's-maid,
of an intriguing and coquettish charac-
ter ; applied, by extension, to various
light roles of this or a similar type.
Soufflet (Fn) The bellows (of an organ,
harmonium, etc.) . . . Souffler^ to blow.
..Souffleric % the bellows with all ad-
juncts... Soujffleur, (a) organ-blower;
(b) prompter (fern, souffleuse).
Sound. See Acoustics.
Soundboard. I, (Ger. Resonant boden;
Fr. table d'harmonie; It. ta'vola armo'-
nica) The thin plate Of wood placed
below or behind the strings of various
instr.s, to reinforce and prolong their
tones by reflecting them from its broader
surface by means of molecular vibration.
The j, of the pfte. is sometimes, that
of the violin generally, called the belly.
2. (Ger. Pfeiftnstock; Fr. pied du
tamis tforgue; It. casso'ne!) In the
organ, the cover of the windchest, in
which the feet of the pipes are inserted.
Sound-body, Sound-box. Same as
Resqnance-box. . . Sound-bow, the thick
rim of a bell, against which the clapper
strikes . . . Sound-hole, a hole cut in the
belly of a stringed instr. to enhance the
resonance... Soundpost. (Ger. SeJle,
Stimm' stock; Fr. mt; It a'nima.) In
the violin, etc., the small cylindrical
wooden prop set insicfe the body, be-
tween belly and back, just behind (near-
ly beneath) the treble foot of the bridge.
Its function is not only to brace the
belly against the strong string-tension,
but also to transmit the vibration of the
strings from belly to back, thus render-
ing the whole body of the instr, reso-
nant
Soupape (Fr.) Valve.
Soupir (Fr.) A quarter-rest. . .Dmi
soupir, an eighth-rest, . .Huittime de
soupir (or dtmi-quart de seupir),
32nd-rest.. .Quart de soupir \ a 1 6th-
rest. . . Seizieme de soupir ', a 64th-rest
Sourdeline (Fr.) Same as Sordellina.
Sourdine (Fr.) i. A mute. 2. A stop
in the harmonium, which partially in-
tercepts the wind-supply, so that full
chords can be played softly. 3, Same
teptdaltc&este (of the pfte.) 4. For*
merly, a spinet (or lute) of veiled, muf-
fled tone.
Sous (Fr.) Under, below. . . Sous-chan-
tre, stibcan.tOT.*.S0us-d0minanff, sub-
dominant . . . Sous-mldiante^ submedi-
an.t...Sous~fomgtie t subtonic, leading-
note.
Space. (Ger. Z-wisch'enraum^l?T. w-
pace; It. spa'sio.) In the staff, the in-
terval between 2 lines or leger-lines.
(See Leger-space.)
SpaTla (It) Shoulder. . . Vvfla da spaU
l&i see Viola.
Spa'nischer Renter (Gen) See Lurch-
stecher. . . Spanuches Kreuz, sign ( x )
of the double-sharp.
Sparta, Sparti'ta, Sparti'to (It),
Spar'te (Ger.) Apartitura.
Sparti're (It.) To write out in scored
The Ger. form spartie'ren signifies, to
copy out old scores into modern nota-
tion.
Spassapensie'ro (It) A jew's-harp.
Spass'haft (Ger.), Scherzanda
Spa'tium (Lat), Spa'zio (It) A space.
Sperr'ventil (Ger.> See Ven til 2,
Spezza'to (It) Divided.
Spiana'tOj-a (It, "leveled".) Smooth,
even, tranquil ; nearly eqniv. to senza
passione.
Spicca'toCtt, " separated".) See Spring-
ing bow.
Spiel (Ger.) Playing ; style (of playing).
. , Spier art, (a) style or method of plav-
ing; (b) touch (of a keyboard instr.),
..SpieHar, handy to play (on vio?
SPINA-STANZA.
lin); playable (as a passage or piece)
..Spie'kn> to play ; Spieler, player. .
Spiel' leute^ (a) wandering fiddlers, etc.
of the middle ages ; (b) the drummer
and fifers of a military band ;'opp. to
Hautbois'ten. . . Spiel' manier en, instni
mental graces, . . Spiel' oer> light opera
comic opera. . . Spiel' tenor, light tenor
as for comic opera or operetta.
Spi'na (Lai.) Quill (of a spinet).
Spin'et. (It. spinefta; Fr. tpinette,
Ger. Spine it'!) An obs. keyboard instr
like a harpischord, but smaller. Also
called Virginal (pair of Virginals)
and Couched Harp.
Spi'rito, con (It.) With spirit. Also
spiritosamen'te, spirito'so, -with anima-
tion and energy.
Spit'ze (Gen) i. Point (of the bow)
Often abbr. Sp. 2. Toe (in organ-
playing).
Spitz'flote (Ger.) In the organ, an open
flue-stop of organ-metal, tin, or wood
of 8, 4, 2, and i-foot pitch ; tone some-
what thin, but pure and reedy. The
pipes are conical, whence the name
(Also SpiWJlote^ Spin'delflote; Lat
ti'bia
Spitz'harfe (Ger.; It. arpanefta^ A
small triangular harp (psaltery) to be
set on a table ; it had an upright sound-
board with strings on .both sides of it,
the bass strings on one side and the
treble strings on the other. Also called
Harfenetif, Flu'gelharfe, Zwifscher-
harje. [RlEMANN.] -
Spitz'quint (Ger.) The quint of the
Spitzflote.
Spon'dee. A metrical foot consisting of
2 long syllables ( ).
Spread harmony. See Harmony.
Springing bow. In violin-playing, a
style of bowing in which the bow is al-
lowed to drop on the string, its elasti-
city then causing it to rebound and quit
the string between each two tones.
There are 2 varieties : (i) the Spicca'to,
indicated by dots over the notes, and
played near the middle of the bow with
a loose wrist, for rapid passages in
equal notes : (2) the Salta'to, with a
longer fall and higher rebound, gener-
ally employed when several equal notes
are to be taken in one bow.
Sprung (Ger.) A skip, a leap ; sprung-
weise, by skips or leaps.
Square pianoforte. See Pianoforte _
Squillan'te (It, from squtfla, a little
bell.) Ringing, tinkling.
Sta'bat Ma'ter. See Sequence.
Stabile (It,) Steady, firm.
Stacca're (It.) To make staccato.
Stacca'to (It.; superl, staccatis'simo;
abbr. stacc.) l< Detached, separated";
noting a style in which the tones played
or sung are more or less abruptly dis-
connected. The ordinary staccato is
marked by round dots over or under
the notes ; a sharper staccato, by wedge-
shaped dashes (the martelj of violin-
playing); the mezzo-staccato ', in which
the tones are nearly run together, has a
slur over the staccato-dots. Staccato*
mark, a dot or wedge-shaped stroke,
Stadt'musikanten, -pfeifer, -zinke-
nisten (Ger. , pi.) Salaried town-musi-
cians, belonging to a privileged guild
which originated in the i$th (?) century,
and under obligations to furnish music
for civic ceremonies ; their leader had
the title of Stadifmusikus. (AlsoXiw//-
pfeiftr, Kunsi'pfeifer.)
Staff, Stave. (Ger. Li'niensystem, Sys-
tem'; r.J>ort&; It. rfy.) The 5 (in
Gregorian music 4) parallel horizontal
lines used in musical notation. . . Grand
or Great staff, one of it lines, middle-
C occupying the sixth . . . Staff -notation^
the staff and the system of musical
signs connected with it ; opp.to^^^-
betical notation (q, v.). Compare Nota-
tion.
Stagio'ne (It.) Season.
Stahlliannonika (Ger.) An instr. con-
sisting of small steel bars caused to
sound by diminutive bows ; inv. by
Nobein 1796. .. StahV spiel, see Lyre a.
Stamentienpfeife (Ger.) See SchwegeL
Stamm'akkord (Ger,) Any chord of a
key, in its fundamental position ; also
sometimes denotes any fundamental or
inverted chord belonging to the given
key, i. e. any chord not altered or sus-
pended...^;^'^, natural tone...
Stamm'ionhiter, the typical diatonic
scale of -major.
Stampi'ta (It.) A song with instrumen-
tal accomp.
ftand'chen (Ger.) A serenade.
Stanghet'ta(It) Bar.
Stan'za (It.; Fr. stance; Ger. Stan'ze.)
A group of mpre than 2 lines, arranged
according to a regular- plan as regards
STAPLE-STOP.
187
either metrical length, or rhyme, or
both, and forming, in connection with
similar groups, a poem, or a part of 0:13.
Staple. In the oboe, etc., &ie metallic
tube which carries the double-reed, and
conveys the vibr. of the latter to the
body of the instr.
Stark (Ger.) Loud, forcible, vigorous ;
forte. (Also adverb.) . . Stacker, louder,
stronger; piit forte.
Stave. SteStaf.
Steam-organ. The Calliope,
Stec'ca (It.) A vicious vocal effect,
the choked or interrupted tone caused
by pressing the root of the tongue too
far back into the pharynx.
Stech'er (Ger.) A sticker.
Steg(Ger.) Bridge.
Stem. (Ger. Hah; Fr. queue; It, gam'-
bo) The vertical line attached to a
note-head (J |*, etc.) Also Tail.
Stentan'do (It.) Dragging and heavy,
ritenufto epesan'te. Also Stenta'to.
Step. (Ger. Schritt) A melodic pro-
gression of a second (either major,
minor, or augm.) Also, often used as
synonymous- with degree ; and, further,
as equiv. to whole tone and semitone,
in the phrases whole step and half-step.
. . Chromatic step, the progression of a
chromatic second.,. Diatonic step, a
progression between conjunct degrees
of the diatonic scale.
Ster'bend (Ger., " dying"). Morendo,
Ste'so (It.) Extended, prolonged ; steso
moto, a slow movement.
Stes'so (It.) The same.
Sthen'ochire. An apparatus designed
for increasing the strength and dexterity
of the hands and fingers of players on
keyboard instr .s.
Sticca'do, Sticca'to (It.) Xylophone.
Sticker. See Organ.
Stie'fel (Ger.) Boot (of ajeed-pipe).
Stiel (Ger.) Stem ; neck (of violin.)
Stil (GerJ, Sti'le or Sti'lo (It.) Style.
StilI'gedackt(Ger.)Asoft-toned stopped
organ-register.
Bti'lo (It.) Style... S. osserva'to, strict
style, especially of pure vocal music . . .
S. rappresentati'vo, dramatic monodic
song with instrumental accomp. in
chords ; a style originating toward the
dose of the i6th century.
Stim'me (Ger.) i. Voice. 2. Part;
mitder Stimme % collaparte. 3. Organ-
stop (generally in compounds). 4,
Soundpost. . . Stimni'ansatz> the attack
of a vocal tone. . . Siimm' bander, vocal
cords. . . Stimm'bildung, training or de-
velopment of the voice. , . Stimm'bruch,
breaking of the voice, mutation...
Stimm'lwch, part-book. . . Stim'men, to
tune ; to voice (an organ) . . . Sttmfmer 9
(a) tuner; (o) drone (of bagpipe)...
Stimm'Jldte, pitch-pipe . . . Stimmfuh-
rtr, leader in a chorus... Stimm'fiih-
rung, leading of the parts... Stimm'-
gabel, tuning-fork. . . Stimm' hammer,
tuning - hammer . . . Stimm'holz, <-holz~
chen, soundpost.'. .Stimm'horn, tuning-
cone . . . Stimm'keil, tuning - wedge . .
Stimm' krucke, tuning-wire. . , Stimm'-
mittel, vocal powers, capacity. . . Stimm'-
ffdfe^ pitch-pipe. . .Stimm'riize^ glot-
tis. . . Stimm'stock) soundpost (violin) ;
wrest-plank (pfte.) . . Stinim' urn fang,
compass of the voice... Stim'mung t
(a) tuning ; accordatura ; (o) pitch ;
Stimmung halten^Q keep in tune; (c) a
mood, frame of mind ; Stim'mungsbild,
a "mood-picture", short characteristic
piece. . . Stimm'werkzeuge, vocal organs.
Stinguen'do (It.) Dying away.
Stiracchia'to, Stira'to (It.) Dragging,
retarding the tempo.
Stock (Ger.) Bundle of 30 strings.
Stock/chen des Halves (Ger.) "Heel"
of violin, etc.
StockTagott (Ger,) Same as Raekttt.
. . Stoczjlote, same as Czakan.
StoHen (Ger.) See Strophe.
Stonan 7 te (It.) Dissonant.
Stone-harmonicon. See Lapideon.
Stop (noun). I. (Ger. Regis' terzug; Fr.
registre; It. regi'stro) That part of
the organ-mechanism controlling the
admission of wind to the 'grooves be-
neath the pipes. 2. (Ger. Register;
Fr. jeu <Forgue(s); It. regi'stro.) A set
or row of organ-pipes of like character,
arranged in graduated succession.
These are called speaking or sounding
stops; they are classed as Flue-work
(having flue-pipes), and Reed-work,
(having reed-pipes) ; the flue-work has
3 sub-classes, namely (a) Principal-
work, having cylindrical flue-pipes of
diapason-quality, i. e. the characteristic
organ-tone ; (b) Gedacki-work, having
covered (stopped or plugged) pipes;
and (c) Flute-work^ including all flue-
I8S
STOP STRETTA.
stops having flue-pipes of a scale too
broad or too narrow to produce the
diapason-tone, together with such stop-
ped pipes as have chimneys, and all 3-
or 4-sided wooden pipes... Complete
stop) one having at least one pipe for
each key of the keyboard to which it
belongs. ..Compound stop, see Mixture-
stop. . .Divided stop, one in which the
lower half of its register is controlled by
a different stop-knob from the upper,
and generally bears a different name . . .
Flue-stop, one composed of flue-pipes.
. .Foundation-stop^ one of normal 8-foot
pitch..* Half-stop, incomplete or im-
perfect stop, one producing (approxi-
mately) half the tones called for by the
full scale of its manual. ..Mechanical
stop, one not having a set of pipes, but
governing some mechanical device;
such are the couplers, tremulant, bell-
signal, and the \iks. ..Mixture-stop,
one with 2 or more ranks of pipes, thus
producing more than one tone for each
key (as the Mixture, Carillon, Cornet,
Cymbal).* .Mutation- stop, one produc-
ing tones a major 3rd or perfect 5th
(or a higher octave of either) above
the 8' stops (as the Tierce, Twelfth,
Quint)... Partial stop, see. Half-stop.
.Pedal- stop * a stop on the pedal.'..
Reed-stop, one composed of reed-pipes.
. . $olo~stop, any organ-stop adapted for
the production of characteristic melodic
effects, whether on the solo organ or
not . . . Sounding ot speaking stop, a stop
proper, having pipes and producing
musical tones. 3. On a violin, etc.,
pressure of a finger on a string, to vary
its pitch; a double-stop is when 2 or
more strings are so pressed and sound-
ed simultaneously ; on wind-instr.s
with finger-holes, the closing of a hole
by the finger or a key, to alter the
pitch ; on wind-instr.s of the trumpet
family, the partial closing of the bell by
inserting the hand, thus raising the pitch
and modifying the quality of the tone.
Stop (verb). To vary the pitch of instns
as described under Stop 3 above...
Stopped notes, notes obtained by stop-
ping; ppp. to open... Stopped fifes,
organ-pipes closed (plugged or covered)
at the top ; opp. to open.
Stephen (Ger.) To stop (bell of horn
witft the hand)...##/&X stopped
tones, *' hand-notes" (horn).
Stop-knob. The projecting handle of a
Stop*.
Stoss'zeichen (Ger.) Staccato-mark.
Straccicalan'do (It.) Babbling, prat-
tling.
Strain. In general, a song, tune, air,
melody ; also, some well-defined pas*
sage in or part of a piece. Technically,
a period, sentence, or short division of
a composition ; a motive or theme.
Strascican'do (It.) Dragging, drawl-
ing. (Pds&strascinan'do; strascinando
Tarco, drawing the bow so as to bind
the tones.)
Strathspey. An animated Scotch dance,
somewhat slower than the reel, and like
it in 4-4 time, but progressing in dot-
ted eighth-notes alternating with i6ths,
the latter frequently preceding the for-
mer, then producing the peculiar jerky
rhythm of the Scotch snap.
Stravagan'te (It.) Extravagant, eccen-
tric, fantastical.
Stravagan'za (It.) An extravaganza.
Straw-fiddle. See StrohfiedeL
Str.ei'chen (Ger.) i. To bow (draw the
bow across). 2. To cut (as a scene in
an opera)... .SVra'M^ (Ger.; lit.
u drawing [as a bow]"), the quality of
tone called in English stringy (opp.
to reedy, fluty, etc.) . . . Streichende
Register, in the organ, stops with string-
tone . . . Streich'instrumente, bow-instr,s.
. . Stretch' orchester, string-orchestra,
" the strings "... Streich'quartett, -trio,
string-quartet, -trio , . . Streich' zither,
bow-zither.
Streng (Ger.) Strict, severe. (Also
adverb!)
Stre'pito (It.) Noise. . . Strepitosamen'-
te, strepito'so, in a noisy, boisterous,
impetuous style.
Stretch. On a keyboard or fingerboard,
a wide interval whose tones are to, be
taken simultaneously by the fingers of
one hand.
Stret'ta, commonly Stret'to (It.; Fr.
strette; Ger. Eng*fuhrung.) 4t Nar-
row, drawn together". I. A division
of a fugue (usually a final development,
for the sake of effect) in which subject
and answer follow each other in such
close succession as to overlap...^.
maestra'le, one constructed in strict
canon... Alia stretta, in, or after the
manner of, a stretto. . .Andante stretto,
same as andante agitato* 2. A con-
cluding passage taken, to -enhance the
effect, in faster tempo.
STRETTE-STUFE.
Strette (Fr.) Stretto... magistrals,
same as Stretto maestrale.
Strich (Ger.) I. Stroke; Strich'art,
Bowing 2. 2. A line, dash, or stroke.
-3. A "cut".
Striden'te (It. ;- " noisy," " harsh".) In
pfte.-playing, equiv. to martellato
(comp. Beethoven, op. 76, Var. VI).
String. (Ger, Sai'te; Fr, corde; It. cor'-
da.) The materials chiefly used for
manufacturing musical strings are gut
(entrails of lambs and sheep), cast
steel (drawn out for piano-strings, etc.),
silver (mostly for covering or winding
spirally around a cor* steel wire or
silk cord to make the string thicker
and heavier in proportion to its length,
and consequently deeper-toned), and
silk (as a core in covered strings, es-
pecially for the guitar and zither). Cop-
per and brass are also employed. . . The
Strings, technical term for the string-
group in the orchestra. . .First string,
the highest of a set. .. Open string, one
not stopped or shortened... Silver
string, one covered with silver wire. . .
Soprano string, the chanterelle.
Stringed instruments. (Gen Sai'ten-
instrumente; Fr. instruments a cordes;
It. str&men'ti da cor^da.) All* musical
instr.s whose tones are produced by
strings, whether struck, plucked, or
bowed. See Instruments.
Stringen'do (It.) Hastening, accelerat-
ing the movement, usually suddenly
and rapidly, with a crescendo.
String-gauge. A gauge for measuring
the thickness of strings.
String-organ. A keyboard instr., pro-
vided with a series of free reeds con-
nected by rods with ordinary piano-
strings of corresponding pitch, which
are sympathetically affected by the vi-
brations of the reeds. The tone is pure
and sweet, the instr. combining in a de-
gree the qualities of the harmonium
and pfte. Also compare art. Saitener-
gel.
String-quartet. A quartet for - jst and
2nd violin, viola, and 'cello ; hence,
the instr.s themselves, or the players
on them ; and, by extension, the string-
group in the orchestra (see String-quin-
tet).
String-quintet, i. A quintet for 2 vio-
lins, 2 violas, and 'cello ; or for 2 vio-
lins, I viola, and 2 'celli ; or for 2 vio-
lins, viola, 'cello, and double-bass.
These are the most usual combinations,
which may be variously extended to
form string-sextets, septets, etc. 2.
The string-group in the orchestra, when
considered as composed of (i) 1st and
(2) 2nd violins, (3) violas, (4) 'cellos,
and (5) double-basses ; called string-
quartet when considered as composed
of (i) violins, (2) violas, (3) 'cellos, and
(4) double-basses.
Stringy. Having the quality of tone
(** string-tone") peculiar to bow-instr.s.
Striscian'do (It.) Gliding, smooth,
legato.
Stro'fa(It) Strophe.
Stror/bass (Ger.) The deep, husky
tone of the lower chest-register (male
voice) produced by forcing the breath
between the vocal chords when the
latter, though brought near together
are in a state of relaxation. . . Stroh'fa-
. del, the xylophone.
Stroke. The' sweep (fall and rise) of a
digital or pedal.
Strombetta / re (It.) To sound a trum-
pet. .. Strombettie're, trumpeter.
Stromenta'to (It.) Instrumented.
Stromen'to (It.) Instrument...^, da
arco, bow-instr. .,S.da cor da, stringed
instrument... 5. da fa* to (di vento\
wind-instr. . .5. da ta'sto, keyboard in-
str. . . di ligno, wooden instr. . . S.
di metaJflo, metal instr.
Stro'phe. (Gk., " a turning round".) i.
In the Greek drama, the song of the
chorus when turning from right to left,
the antis'trofke being what was sung
when turning from left to right, the
ep'ode then following. 2. A recurrent
group of lines in a poem, arranged ac-
cording to a fixed metrical system or
plan ; equivalent tor stanza in modern
poetry. 3. The former of two suchf
groups, the latter then being called the
antistrofhe (see above) . . . The Strophe,
Antistrophe, and Epode of the Greek
tragic chorus and Pindar's odes, closely
correspond to the 2 StoUen and the
Abgesangoi the German Meister singer;
the Bar being the group formed by the
2 Stollen and the Abgesang,
Stiick (Ger.) A piece; a number (as
on a program).
Study, (Ger. Sttfdie [pi. Stu*dien\, or
Etu'dc [pi. EtU f dtn\; Fr. fade; It.
stufdio.) $tttude.
Stu^e (Ger.) A degree . . .
190
STUMM SUITE,
Fortfschrdtung, diatonic or conjunct
("stepwise") progression.
Stumm (Ger.) Dumb . . . Stum'mes Kla-
vier*, dumb piano* . .Stum' me Pfei'fe,
' dummy pipe... Stum* 'mes Register,
mechanical stop.
Stiir'misch (Ger., "stormy".) Impetu-
ous, passionate. (Also adverb?)
ijtiir'ize (Gen) Bell (of wind-instr.s). . .
Star's^ in die Hoh'e, "turn the bell
. upwards!"
Stuttgart pitch. That proposed by
Scheibler at the Q to make
Stuttgart Congress jju <a 400 vi-
in 1834, the a 1 tf b rations
per second at a temperature of 69
Fahrenheit. (Comp. Pitch, Absolute.)
Stutz'fliigel (Ger.) Boudoir grand,
" baby" grand (pfte.)
Su (It) On, upon ; by, near.. .Arco in
su, up-bow.
Suabe flute. A sweet-toned organ-stop.
Sua've (It) See Soaw. . . Suavita', con,
suavely, sweetly.
Sub (Lat.) Under.
Subbass', SubbourMon. An organ-
stop of 1 6 or 32-foot pitch, generally
- on the pedal and stopped.
Subcaotor. A deputy cantor or precen-
tor, supplying the place of his chief in
the latter's absence. Also Succentor.
Subdlapen'te. In medieval music, the
fifth below a given tone.
Subdom'inant. The under-dominant,
i. e. the tone below the dominant in a
diatonic scale ; the 4th degree.
Subitamen'te, Su'bito (It.) Suddenly,
quickly. .. Volti subito (abbr. V. S,),
turn over quickly. . .p subito (after/),
an abrupt [change to] piano, without
gradation.
Subject, (Ger. Subjekt; Fr. sujet; It.
soggefto.) A melodic phrase or motive
on which a composition or movement is
founded ; a theme ; opp. to answer.
(Also antecedent, dux, guida t froposta,
etc.) Compare Soggetto.
Subme'diant. The third scale-tone below
the tonic ; the 6th degree.
Suboc'tave. The octave below a given
tone. Suboctave-coupler, an organ-
coupler bringing into action keys an
octave below those struck, either on the
same manual or another.
Subordinate chords. Chords not fun-
damental or principle ; the triads on the
2nd, 3rd, 6th, and 7th degrees, and all
chords of the seventh but the dominant
chord.
Subprincipal. A subbass (pedal-) stop
of 32-foot pitch, of the open diapason
class.
Subsemifu'sa (Lat.) A 32nd-note(medie-
val).
Subsemitone. The subtonic, or lead-
ing-tone (Lat. subsemito'nium modi).
Substitution. In contrapuntal progres-
sion, the resolution (or preparation) of
a dissonance by substituting, for the
proper tone of resolution (preparation),
its higher or lower octave in some other
part.
Substitution (Fr.) Change of fingers.
Subtonic. The leading-note.
Succentor (Lat.) A subcantor; also,
the singer of a lower or bass part.
Succession, i. Progression. 2. Se-
quence.
Suf note (Ger.) See SifflSte.
Suffoca'to (It., " suffocated".) Damped,
muffled.
Su'gli, Su'i (It.) On the (comp. Sul).
Suite (Fr.) A cyclical instrumental com-
position consisting of a set or series
of pieces in various idealized dance-
forms. It .originated, presumably, in
the practice of the town-bands, during
the later middle ages, of stringing to-
gether a succession of dance-tunes, dif-
fering in character and form but alike
in key. These are the characteristic
features of the old Suite, which was
taken up in the i;th century by com- .
posers as a form of clavier-composition
under the name of Partie or Partita.
The extension of the primitive forms,
naturally resulting from instrumental
treatment at the hands of Italian and
German musicians, was cut short by
Couperin (1668-1733), who in many
respects served Bach as a model; the
Kammersuiten of the latter mark the
culmination of the old suite-form. The
earlier artistic Suites have 4 principal
movements or divisions: The Alle*
mande, Corn-ante, Saraband, and Gigue;
other forms introduced at will (inter*
mezzt) are the Bourree, Branle, Ga-
votte, Minuet, Musette, Passepied,
Loure, Pavane, etc. ; such an intermez-
zo was usually brought in between the
Saraband and Gigue, rarely before the
SUIVEZ-SWELL.
former. The modern orchestral Suite
can hardly be called a revival of the old
form, as the separate movements are
not necessarily or generally in dance-
form, nor do they keep to one key ; it
more nearly resembles the Divertimen-
to, both in character and form.
Suivez (Fr., " follow".) Same as Cotta
farte.Mso, "continue," "go on" (i.
e., in like manner); simile.
Sujet(Fr.) Subject.
Sul, suir, sul'la, sul'le (It.) On the;,
near the (all contractions of su t on,
with the definite article) . . . Sulla cor da
Z0,on the ^-string. . .Sulla tattle* ra,
near or by the fingerboard..,^//^-
ticel'lo, near the bridge (see Ponticello).
Summation*! tone. See Acoustics, 3, b.
Suona're (It.) Same as Sonare. . . Suon-
a'ta, see Sonata... Suo f no, sound,
tone; suoni armctnid, harmonics,
flageolet-tones.
Super (Lat.) Above, over.
Superdominant. The 6th degree of any
major or minor scale.
Superfluous. (Fr. suferflu) See Aug-
mented.
Supe'rius (Lat.) Formerly, the highest
part
Superoctave. I. An organ-stop pitched
2 octaves higher than the diapasons
(i. e. of 2-foot pitch). T-2. An organ-
coupler bringing into action keys an oc-
tave above those struck, either on the
same manual or another. 3. The octave
above a given tone.
Supertonic. The 2nd degree of a dia-
tonic scale.
Supplicne'vole, Supplichevolmen'te
(It.) In a style expressive of supplica-
tion, entreaty, pleading,
Support, An accompaniment, or sub-
ordinate part.
Supposed bass. See Bass.
Sur (Fr.) On, upon, ovtr...Sur une
corde, see Sopra una corda*
Surabondarit (Fr.) See Note (Fr.)
Suraigu, -e (Fr.) Superacute.
Surdeli'na (It.) See Sourdeline.
Surprise cadence. See Cadence.
Sus-dominante (Fr.) Superdominant.
Suspended cadence. See Cadence.
- Suspension. (Ger. VoShalt; Fr. sus-
^ fension; It, sosfensio'ne.) A disso-
nance caused by suspending (holding
back) a tone or some tones of a chord
while the other tones progress; the
dissonance of a seventh or second,
occurring immediately before a chord
which would have entered entire were
it not for the suspension ; e. g.
J
-
m
Double (triple) suspension, one in
which 2 (3) tones are suspended. The
suspended tone itself is also termed a
suspension.
Suspi'rium (Lat.) A quarter-rest; in
mensurable notation, a minim-rest.
Suss (Ger.) Sweet(ly).
Sustain. To hold during the full time*
value (of notes); specifically, to per-
form in sostenuto or legato style. . . Sus-
tained note, see Organ-point. Sustain-
ing-pedal, see Pedal.
Sus-tonique (Fr.) Supertonic. (Also
Sutonique?)
Susurran'do, Susurran'te (It.) In a
whispering, murmurous tone.
Sveglia'to (It) Lively, animated,
brisk.
Svel'to (It.) Light, nimble.
Swell. I. In the organ, a contrivance
for producing a crescendo and diminu-
endo. By enclosing a partial organ
(swell-organ) in a box, the front of
which could be opened or shut at will,
this end was attained. In the modem
(so-called Venetian) swell the front of
the swell-box is composed 6f movable
parallel shutters (swell-blinds); when
these shutters are horizontal, they are
usually opened by a lever (swell-pedal)
worked by the organist's right foot, and
close automatically when the lever is
released (but comp. Balance swetl-
pedal); when vertical, they are closed
by a spring. Formerly other devices
were employed, notably the nags-head
swell, a single broad shutter in front of
an echo-organ, to be raised or lowered.
On the harpsichord a swell was ob-
tained by a movable cover. 2. A ere-
scendo ( *- 7), or crescendo and di-
minuendo { * ri Z= ) . . - Swell-
keyboard, the manual controlling the
SYLBE-SYMPHONY.
swell-organ, generally the one nex
above the great-organ manual. . . Swell-
organ (Ger. [compare Oberwerk] ; -Fr
clavier de rldt; It. organo d^espres-
sione), see Swell I, and Organ. (In
organ-music abbr. Sw<> or Swell.)
Syll* (Ger.) Syllable.
Syllabic melody. One each tone of
"which is sung to a separate syllable
(Ger. sittafbischer Gesang; Fr. chant
syllabique) ; opp. to Slurred melody.
Syllable-name, A syllable taken as the
name of a note or tone, as Do for C;
opp, to Letter-name.
Sympathetic string. A string (e, g.
. the octave-strings stretched over the
unisons in Blttthner's "aliquot grands")
adjusted so as to be affected by the vi-
brations of other strings or resonant
bodies, and not by being itself struck,
plucked, or bowed.
Symphone'ta (Lat.) Polyphony, poly-
phonic writing.
Syraphoni'a (Gk. and Lat) i. In Greek
music, a consonance. 2, (Medieval.)
A name formerly applied to various
different instr.s, as the hurdy-gurdy and
virginal 3. A symphony.
Symphonic, (Ger. sympho'nisch; Fr.
symphonique; It. sinfo'nico.) Relating
or pertaining to a symphony. . . Sym-
phonic poem (Ger. sympho'nische Dick'-
tung; Fr. poeme symphonique) , an or-
chestral composition allied, . both in
its length and in the power and variety
of its instrumentation, to the sym-
phony; but radically differing from
the latter by discarding the orthodox
form (division into the regular move-
ments), and in being directly based on
and repeiving its inspiration from a
program fat poem; i. e., it is conceived
as aa instrumental poem, depicting
events, scenes, or moods like a word-
poem). This "fairest flower" of pro-
gram-music can necessarily have no
fixed form, but its continuous flow is
moulded into a sort of unity by the
repetition of the same theme variously
modified and transformed,
Symphonic (Fr.) i. Symphony. 2.
Harmony, euphony. 3. An instrumen-
tal accornp. 4. The string-group in
the orchestra. 5. Orchestra.
Symphonic-Ode (Ger.) A symphonic
composition combining chorus and or-
chestra (Fr. ode-sympkonie),
Sympho'niker (Ger.) A composer for
full (symphony- or opera-) orchestra.
Sympho'nion. i. A pfte. combined
with an organ flute-stop, inv. in 1839
by Fr. Kaufmann of Dresden. 2. A
music-box, consisting essentially of a
graduated comb-like series of steel
teeth, and a thin flat metallic disk
caused to rotate by clockwork, and in
which the notes are punched in such a
manner that short tongues of metal
project from the lower side of the disk ;
in rotating over the steel teeth, these
tongues engage a series of small wheels
furnished with projecting studs, which
twang the teeth in the same way as the
studs on the cylinder of the ordinary
Swiss music-box. The instr.s are made
in all sizes, and as the note-disks are
interchangeable, the repertory is limited
only by their number (now several
thousand).
Symphoniste (Fr.) i. A composer. 2
A symphony-writer. 3. A member of
a symphony-orchestra.
Sym'phony, (Ger. Symphonic*, Sin,
fonii; It. sinfoni'a; Fr. symphonie^
from the Gk, symphoni'a, "conso.
nance", i. e, consonant interval.) !
A form^of instrumental composition de-
veloped" from the Overture (q. /.), the
3 divisions of which latter were separ-
ated towards the middle of the i8tb
century, by composers writing purely
orchestral pieces, into 3 distinct move-
ments ; the 4th (the Minuet) being in-
troduced by Haydn, who thus consum-
mated the modern 4-movement form.
This form is identical with that of the
Sonata (comp. Form}* For the Minuet,
Beethoven substituted the Scherzo,
which since then has been the typical
form of the 3rd movement. Haydn
also transferred the "first-movement"
form of the 'sonata to the symphony,
and utilized the individual timbres of
the various instr.s for contrasts in or-
chestration; the perfection of instru-
mental individualization is the work of
Mozart and Beethoven, and the latter
enlarged the symphony-orchestra to its
modern status (comp. Orchestra). The
usual plan of the symphony is now I
(Allegro [in first-movement form, often
with a slow introductory division]) ; ll
(Adagio)] III (Scherzo) \ IV (Allegro
or Presto). Its latest development is
the Symphonic Poem. 2. Same AS
Ritornello i. 3. A medieval name for
several instr.s, as the Hurdy-gurdy,
Bagpipe, etc.
SYNCOPATE-TABLATURE.
193
Syn'copate. To efface or shift the accent
of a tone or chord falling on a naturally
strong beat, by tying it over from the
preceding weak beat ; a tone or chord
so robbed of its accent is termed synco-
pated.
Syncopa'tion. (Ger. Syn'kope;l?T. syn-
cope; It sin'cope.} The tying of a
weak beat to the following strong beat,
effacing the accent naturally falling on
the latter and in most cases shifting it
to the (naturally unaccented) weak beat.
Syncopation may take place in one,
several, or all parts ; in the first two
cases as an anticipation, a suspension,
or a resolution of either (as a resolution
the accent is weakest, or quite elided,
particularly when concluding a phrase) ;
in the third case, or in anticipation, the
accent is apt to have a sforzando char-
acter.
Synem'menon. See Greek music.
Syncope (Ger.) Syncopation ...Syn-
kopie*ren, to syncopate.
Synonyme (Fr.) Same as Homophone^
which latter term is more correct.
Synton'ic comma. See Comma,
Syntonolyd'iaxu Same as ffypofydian
(see Mode}.
Syringe (Fr.) Syrinx.
Syrinx. See Pandean pipes.
System, i. A number of staves braced
together for writing out a full score. . .
2* (Gen) See Liniensystem.
Syste'ma i. (Gk.) In Greek music,
a comparatively wide interval filled out
by intermediate tones; e. g. a tetra-
chord 2. (Lat.) The staff. 3. The
series of tones constituting a hexa-
chord.
Systeme (Fr.) i. The whole range of
musical tones. 2. The compass of any
given instr.
Syzygi'a (Lat.) A chord ; specifically,
a triad. .. compo'dta, triad with
doubled tone. . .* perfe^ta^ triad. . .
*S, propin'qua^ chord in close harmony.
... remffta^ chord in open harmony.
. .5. $im'plex v the simple trjad without
doubled tones.
T.
T. An abbr. of Talon, Tasio (t. s. =
tasto solo), Tempo (a t. = a tempo),
Tendre, Tenor ; Toe (in organ-music),
Tre(T. C* = tre corde), and Tutti.
Taballo(It) See Timpano.
Tab'lature. i. (Ger. Taoutatur'.) The
rules and regulations for the poetry and
song of the Meistersinger, a. (Ger.
Tabulator* y Fr. tabfature; It. intavola-
tufra.) An obsolete system of musical
notation employed chiefly for the lute,
viol, and organ, and most in vogue
from the i$th century till early in the
l8th. The organ-tablature (also called
German /.) used for keyboard instr.s
was a system of alphabetical notation
based on the division of the mus. scale
into the octaves C H (= \ ck
(= 3), etc.; the melody (highest part)
was often noted on a staff, the accom-
panying chords being expressed by ver-
tical rows of letters. In the lute-tabla-
tures (excepting the German) the tones
were represented by letters (French or
English t.) or numerals (earlier Italian
i.) indicating the frets at which the
strings were to be stopped, and were
written on the lines or in the spaces of
a kind of staff, said lines or spaces
showing the number of strings on the
instrument. The pitch of the tones
represented by the letters or figures
would therefore vary with the size of
the lute/and was not a staff-notation in
the modern sense. Three leading fea.
tires were common to nearly ali systems
of tablature: (i) The vertical disposi-
tion of the characters representing one
chord ; (2) the use of bars to divide th
measures ; (3) a system of signs for
marking the time-value of the tones
called for by letters or figures (or of
the corresponding rests), these signs
being written either above or below the
latter, and signifying:
Note* Rest-
Signs.
*r:* ir*i
Tim-Value.
Brevis {
Semibrevis
Mmma(J)
( j)
.11 i F
') | Semifnsa(^)
The hooks of consecutive equaHiotej
were often run together thus 05E3
194
TABLE-TANDELND.
or ::{..[ { '-. Arbitrary variations from
these general rules were, however, of
frequent occurrence. A new develop-
ment of tablature is the Tonic Sol-fa
system of notation.
Table (Fr.) Soundboard ; belly. (Also
tabk tfh&r monie^ . . Table de des$ous>
back.
Table-music. See Tafelmudk.
Tabor. A small drum, like a tambour-
ine without jingles; formerly much
used by pipers, who beat the tabor with
the right hand as an accompaniment to
a flageolet or pipe manipulated by the
left. . . Taboret, Tabret, a small tabor.
Tab'ulature. See Tablature.
Ta'cent(Lat) " Are silent". See Tacet,
Ta'cet (LaO, Ta'ce or Ta'ci (It.) u Is
silent"; signifies that an instrumental
or vocal part so marked is omitted dur-
ing the movement or number in ques-
tion.
Tac'tiis (Lat) A beat. In medieval
music its time-value was styled tactus
major when it marked a breve to a
measure, and tactus 0wwhena semi-
breve.
Ta'felklavier (Ger.) A square pfte.
Also ta'jelformigts Khmer* . . . Taffel-
musik, "table-music"; (a) music per-
formed during repasts; (&) music so
printed that several performers, sitting
around a square table, could read their
several parts from the same book. See
'Part-book*
Tail. Same as Stem. . . Tailpiece. (Ger.
Sai'tenkalter; Fr. cordier, queue.)
In the violin, etc., the piece of wood
(usually ebony) to which the strings are
attached behind the bridge.
Taille (Fr.) Tenor voice (now used only
for church-music; otherwise t/nor).
Also, the tenor violin. . . Taille de bas-
son, same as Oboe da cacda.
Takt (Gen) i. A beat. 2. A measure.
3. Time, . . Takt 'accent , measure-
accent, primary accent. . . Taktfart,
time, measure, rhythm, . . Takt' er stick-
ung, syncopation. , , Taktfack, aspace,
..Tatffatt steady in time...2W-
flied, measure-note. , , Takfkalten, to
keep time ; keeping time. . . Tatftieren,
to beat time. . . Tatftierstab, a baton.
. . Takt'm&ssig, in time. . . Takfmesscr,
metronome... Takt note ^ whole note.
* . Takf pause, measure-rest. . . 7W-
to beat time. . . TaM stock, a
baton. . . Takfstrich, a bar. . . Takf
tett, beat, count ; guter Taktteil^ strong
beat; scklechter Taktteil^ weak beat.
. . Takfvorzeichnung, Takfzeichen^
time-signature . . . Ein Takt wie worker*
zwei ( u one measure like two before"),
same as Doppio movimento. . Jm Takt,
a tempo.
Talon (Fr., "heel"), i. Nut (of the
bow.) -2. In pedal-playing, heel;
abbr. / (compare Pointe 2). Talon de
la manche (in the violin, etc.), heel (end
of neck joining the body).
Tambour fFr.) i. A drum. 2. A
drummer (also Ger,) Tambour cHro-
matique, see Timbalarion. . . T. de
basque^ tambourine. . , 7 1 . rowlante, the
long drum.
Tambou'ra, Tambu'ra. A* Oriental
instr. of the lute kind, having a round
body, fretted fingerboard, and 3 or 4
strings.
Tambourin (Fr.) i, A sort of tabor.
2. A French peasants 1 dance, in 2-4
time and lively tempo, often accomp.
by the tambourin and galoubet (tabor
and pipe).
Tambourine'. (Ger. Tamlurin'\ Fr.
tambour de basque; It. tamburi'no.)
A small drum played by striking it with
the right hand, consisting of a shallow
circular hoop of wood or^ metal with
one head of parchment ; in apertures
made around the hoop are fastened sev-
eral pairs of loose metallic plates,
called jingles from the noise they pro-
duce. Used principally in Spain and
southern France as an accomp. to danc-
ing ; occasionally employed in the (op-
eratic) orchestra. In tambourine-mtu
sic, notes with wavy stems f f fcali
for the roll; notes with short vertical
strokes over them ^ p for the
jingles.
TambureHo (It.) Tabor.
Tamburi'no (It.) i. A drummer. 2.
Tambourine.
Tambu'ro (It.) Side-drum... Tambu.
ro'ne, the big drum, bass drum (also
Cassa grande).
Tamis (Fr.) Pipe-rack (organ).
Tam-tam. I, A gong. 2. A Hindu
drum of elongated form. (Also Ton*
torn.)
Tan'delnd (Ger.) In a toying, banter-
ing style.
TANGENT-TEMPERAMENT.
195
Tangent. (Ger. Tangen'te) In the
clavichord, a brass wedge fixed in the
jack on the rear end of a key ; on de-
pressing the key, the tangent struck apd
. rubbed across the string, and remained
bearing on it until the finger was lifted,
thus both producing the tone and fixing
its pitch. . . Tangen'ten/Mgel (Ger.), a
clavichord shaped like a grand piano.
Tanti'no (It.) A little ; very little.
Tati'to. (It.) As much, so much ; too
(much); allegro non tanto> not too fast
(here equiv. to troppo); a tanto possi'-
bile, as much as possible.
Tanz (Ger.) A dance. ,. Tawfliedtr,
dance-songs ; Tanz'st&cke, dance-tunes
(instrumental); the former were the
original form of dance-music (Tanz'-
musik), the latter being at first mere im-
itations of them. (Comp. Form II, 3.)
Tarantel'la (It), Tarentelle (Fr.) A
dance of southern Italy, in 6-8 time,
the rate of speed gradually increasing,
and the mode alternating irregularly
between major and minor. In modern
, music, an instrumental piece in 3-8 or
6-8 time, very rapid tempo (presto), and
bold and brilliant style.
Tardamen'te (It.) Slowly, lingeringly.
. . Tardan'do, Tarda'to, see Riiardan-
<&. . . Tar* do, slow, lingering.
TartinPs tone. A differential tone
(comp. Acoustics).
Tasch'engeige (Ger.} A kit.
Tasseau(Fr.; Ger. -#*.) The "mould"
on which ribs and blocks of a violin are
set up.
Tastatur' (Ger.), Tastatu'ra (It)
Keyboard, fingerboard.
Tas'te (Ger.) Key (digital or pedal) . . .
Teufttnstabchm,i*&. (The usual term,
Bund, means literally the space between
two frets.)
Tastie'ra (It.) Keyboard; fingerboard.
..Sulla /., near the fingerboard (di-
rection in violin-playing).
Ta'sto (It), i. Key (digital). 2.
Fret. 3, Touch, 4. Fingerboard ;
sul tasto, same as sulla tastier a..*
Tastosolo (abbr. /. s), u one key alone";
a direction in thorough-bass, signifying
that the bass part is to be played, either
as written or in octaves, without chords
(sign 0, or ^).
Tattoo'. Military drum-signal or bugle-
call for retiring at night
Te. For si, in the Tonic Sol-fa system.
T*(Fr.) CJf (for
Tech'nic, Technique'. (Ger.7>'ju < &)
Ail that relates to the purely mechani-
cal part of vocal or instrumental per-
formance. In some German works
treating on pfte.-technique, a distinc-
tion is made between Mecha'nik (the
merely mechanical drill of fingers and
wrist, apart from its application in play-
ing), and Technik (the acquired skill
and dexterity in actual performance).
Tech'nicon. A finger-gymnasium, or
apparatus for training and strengthen*
ing the hands and fingers of players on
keyboard instr.s ; inv. in 1889 by J.
Brotherhood of Montreal, Canada.
Techniphone. Earlier name of the (im-
proved) Virgil Practice-Clavier (q, v.)
Tede'sco,-a'(It.) German... Alia b-
desca, in the German style ; " the term
* tedesca \ says Bulow, has reference to
waltz-rhythm, and invites changes of
time". [Quoted from GROVE .]..Zim
tedesca^ hurdy-gurdy.
Te deum. See Ambrosian Hymn.
Teil (Ger.) A part. . . TeU'tone, partial
tones.
Telephone-harp. An instr. so connect-
ed with a telephone as to render music
performed at a distance audible to an
audience.
Telltale. See APPENDIX.
Te'ma. (It) Theme.
Temperament. (Ger. Temperater*;
Fr. temperament; It. temper amen' 10)
A compromise between the acoustic
purity of theoretically exact intervals,
and the harmonic discrepancies arising
from their practical employment. E.
g. , taking the tone C as a starting-point,
and ascending by quint-strides through
a series of 12 perfect fifths (C. * .j&Jt),
we reach a tone (B$) which, on instr.s
of 'fixed intonation (like the pfte.), is
identical in pitch with the sixth octave
of C (^), but which, as an acoustic in-
terval, is by 74 /7 higher than A A
similar result is obtained by descending
through 12 fifths to Dfo, which.proves
to be lower by 1 ? */ 78 tban ^ corre-
sponding lower octave of C, Now, bj
setting =$ = DV\) , and equally dis-
tributingthe deviation 7 Vrs am . OI1 g tllc
12 quint-tones in either series, i. e. by
tempering each fifth, the deviation for
each becomes practically unnoticeable
on keyboard instr.s ; such equal distri-
bution is called equal temperament.
Another example: The tone A^* a*
IQ6
TEMPESTOSAMENTE-TEMPO-MARK.
the major tierce below C t has the ratio
4:5; the tone 6$, as tierce of the
tierce of C, has 25 ; 32 ; that is, G$ is
1 *>y HI = i -* M lower than -4?' If
;it be attempted, as formerly, to take
'note of and employ in practice even
only the most noticeable of the differ-
ent shades of intonation (e. g. by build-
ing keyboards with separate keys for
c$ and dty, d$ and e\), etc., etc.), the
tones in each octave of our keyboard
instr.s would evidently have 'to be
greatly increased in number beyond the
ordinary chromatic scale of 12 degrees.
However, a perfect fifth ( 8 / 8 ) differs
from a tempered one by only about Jf J
[HELMHOLTZ], an interval close to the
extreme limit of perceptible differences
in pitch, and the use of such an inter-
val instead of a perfect fifth can in very
few cases be regarded as objectionable.
' In" the system of equal temperament
the series of fifths, instead of going on
indefinitely, returns to the starting-
point C) thus forming a circle, as it
, were; this progression from end to
end of the series is called the Circle of
Fifths:
Uneqztal temperament is a system in
which the excess in the series of fifths
is not equally apportioned, some inter-
vals being purer, and others less pure,
than in equal temperament. In the
'mean-tone system, once extensively em-
ployed, the major thirds were tuned
, true, and divided into two equal tones
forming a mean between the greater
and lesser whole tone, hence the term
mean-tone; each fifth was % comma
too flat, making the I2th in the series
about 2 commas out of tune, this
error being usually laid upon the fifth
J the system also had 4 thirds
_j which were too sharp by near-
-*-ly the same interval. The
discordant effect produced by chords
containing any of these anomalous in-
tervals was called the 4t wolf ".
Tempestosamen'te (It.) Impetuously,
passionately ; tempesto'so, impetuous,
impassioned.
Tempete (Fr., u tempest".) A lively
dance of modern (Parisian) origin, in
2-4 time, and danced like a quadrille,
with some modifications of the steps.
Tera'po (It.; Ger. Zetfmass^ i. Rate
of speed, Movement i. (Compare
Tempo-marks?) -2. Time, measure ;
beat. . .A tempo, or tempo primo, return
to the original tempo. , . Tempo alia
brive, see Breve; alia semibrSve, see
T.ordina'rio. . . Tempo bina'rio % duple
time. . . Tempo com'modo, at a conven-
ient pace. . . Tempo de*bole, weak beat.
. . Tempo di Ballo^ Bolero, Minuefto,
etc., see Ballo, etc. . . Tempo di primo
par*te, in the tempo of the first part. . .
Tempo foSte, strong beat. .. Tempo
giufsto, see Giusto., . . Tempo maggio're,
same as /. alia breve. . . Tempo mino'rc,
T. ordina'rio, (a) 4-4 time of 4 beats
to the measure ; opp. to /. alia breve;
() same as t. primo. . . Tempo perdrfto^
irregular, unsteady tempo. . . Tempo
frimo, primie'ro^ see A tempo, above.
. . Tempo reggia'to, same as Co Ha par te.
. . Tempo ruba'to, see Rubato. . . Tempo
tetnafrio, triple time. . .Histes'so tempo \
or Lo stesso tempo, the same tempo;
indicates, at a change of rhythm, that
the pace remains the same. (Comp.
Istesso .} . . Sema tempo, same as a
piace*re.
Tempo-mark. (Ger. Tem'pobezeichnung)
A word or phrase indicating the pace
or speed of a movement, and thus
establishing the absolute time-value of
the notes. Generally accepted tempo-
marks were hardly known before the
beginning of the I7th century, and
were used sparingly until the i8th.
There are 3 classes : (i) indicating a
steady rate of speed; (2) indicating
acceleration ; (3) indicating a slackening
of the pace. They do not in them-
selves indicate a fixed and positive rate
of speed, but only the general character
of the movement; consequently, for
the sake of precision, a metronome-
. mark is often added to the tempo-mark ;
e. g. "Adagio, M. M. J= 56," sig-
nifies a tranquil movement in which a
quarter-note has the time-value of one
beat of the metronome set at 56. Fur-
TEMPORISER-TENORIST.
197
thermore, various qualifying words are
" added (comp. the several Key-words).
CLASS I.
(Indicating a steady rate of
Larghis'simo, molto largo "
Lar'go (broad, stately)
Largamen'te
Larghet'to
Gra've (heavy, dragging)
Len'to (slow)
Adaeis'simo
Ada'gio (slow, tranquil)
Adagiet'to
Andanti'no
Andan'te (moving, going along)
[Modera'to]
Allegret'to
Allegramen'te
Allegro (brisk, lively) [con
mo'to, viva'ce] [agita'to,
appassiona'to]
Pre'ito (rapid) [con fuo'co,
velo'ce]
Prestissimo
CLASS II.
(Indicating acceleration.)
Acceleran'do (gradually accelerating)
tSSto&i^^y accelerating, usually
Incalzan'do f Wlth a cr<*cendo.)
Dop'pio movimen'to (twice as fast)
Piumos'soHa steady rate of speed, faster
Velo^ce J than preceding movement)
CLASS III.
(Indicating a slackening in speedj
Rallentan'do
Ritardan'do
(gradually growing slower)
speed.)
Group I.
m General
signification
of terms is
SLOW.
Group II.
m General
signification
of terms is
FAST.
Largan'do
Tardan'do
Slentan'do
Strascinan'do
Ritenu'to
Me'no mos'so
Calan'do
Deficien'do
Mancan'do
Moren'do
Sminuen'do
Smorzan'do
(a sudden drop to a slower rate
of speed)
(growing slower and softer)
Tcmporiser (Fr.) To play an accomp,
colla parte.
Temps (Fr.) Beat. . . T. foible (secon-
daire)) weak beat; /. fort (sensible) ^
strong beat*
Tempus (Lat., "time".) In medieval
music, the tempus was simply the time-
value of the breve (except in case* of
Alteration). The tempus perfectum
(sign O )> was Ae original kind, in
which the breve was equal to 3 semi-
breves; in the tempus imperfectum
(sign ) later introduced, the breve
had the value of 2 semibreves. (Comp.
Notation, 3.) . . Tempus bina'rium
(ierna f rium\ duple (triple) time.
Ten'ebre (Lat. pi., " gloom, darkness ".)
In the R. C. Church, the lamentations
(matins and lauds) sung especially on
Good Friday in the Sistine Chapel,
while the candles burning at the altar
are extinguished one by one.
Te'nero,-a (It.) Soft, tender, delicate.
. . Teneramen'te, or con teneretfza,
tenderly, delicately; nearly equiv. to dol-
ce, but with somewhat more of passion.
Teneur (Fr.) The canto fermo in a
choral or hymn-tune.
Ten'or. (Ger. Tenor 9 ; Fr. t/nor or
taille; It. teno're.) i. The high nat-
ural male voice. The Germans dis-
tinguish 2 classes of tenors, the Hef-
dentenor (dramatic tenor), and ly'rischer
Tenor (lyric tenor) ; ^. j *
the compass of tneSEESE^
former is from c to fffy *,
the voice full and powerful throughout,
with a barytone timbre ; the range of
the latter is fr): 1 9 ' (jfari t h e
about from ^ P""^Y I n~ low-
d to c* ( 2 #) tJ e s t
tones usually rather weak, the high tones
brilliant, and the timbre generally bright
and pleasing. The Italian terms near-
ly corresponding to the above are (i)
tenure robu*sto, tenore di foSza, and
(2) tenore di gra'zia, t. leggiJro; but
they are very variously and arbitrarily
employed. 2. The part taken by a
tenor voice ; hence, by transference, a
prefix to names of instr.s taking parts
of similar compass, as tenor trombone;
specifically, the tenor violin (viola). 3.
Tenor (from Lat. tenere, to hold),
originally "a holding, holding fast",
was applied to the melody (as the tin-
changing part) of the Gregorian chants
sung by men, and hence to the high
male voice. 4. In medieval music,
tenor also signified (a) a hold; (b)
ambitus (of a mode); (c) the initial
tone of the EVOVAE. Tenor-C, small
c. . . Tenor-clef^ see Clef. . . Tenor vio-
lin, the viola.
Teno're (It.) Tenor i. . . T. buffo, a
tenor who sings comic roles. . . T. con-
tralti'no, a light tenor voice resembling
the contralto in timbre. . . 71 difor'na^
di grafzia, leggie*ro, robufsto, see Tenor
i. T. di mezzo carat'tere^ a tenor
voice of barytone timbre (see Heldtn-
tenor, under Tenor i).
TenorTno (It.) A falsetto tenor voice
or singer ; specifically, a castrato.
Tenorist 7 (Ger.; Fr. ttnoristt; It
tenori'sta?) Tenor-singer.
19*
TENOROON-TETRAPHONV.
Tenoroon'. The oboe da cacda.
Tenor'schliissel, -zeichen (Ger.) Ten-
or-clef.
Tenth. (Ger. Defzime; Fr. dixttme; It
de'cima.) i. An interval of an octave
plus 2 degrees. 2. Same as Decima 2.
Tenu, -e (Fr.) Held, sustained.
Tenue (Fr.) A sustained tone, or organ-
point.
Tenu'to (It, " held ".) A direction sig-
nifying (a) generally, that a tone so
marked is to be sustained for its full
time-value ; and (o) occasionally, legato.
..Forte tenuto (ften.\ forte through-
out. . Tenitto-mark, a short stroke over
a note, with signification as at (a).
Tenute-\le note implied], [the notes]
, sustained or held.
Tepidamen'te (It.) In an even, unim-
'. passjpned style.
Teponaz'tli (Aztec.) A species of dram
still used by the aborigines of Central
' America and Mexico. It consists of a
section of a log (left round in the ruder
specimens, but carefully squared in the
> isore artistic ones) in a horizontal posi-
- tion, from 2 to 5 feet long, hollowed
-out on the under side so as to leave the
ends 3 or 4 inches thick and the top
- part (belly) a few lines through ; in the
; belly 2 parallel incisions are made
lengthwise, and connected by a shorter
one crosswise, the 3 assuming the shape
of the letter IE. The 2 tongues left
between, when struck by the sticks,
vield 2 different tones, at an interval
in various instr.s of a third, fourth,
.fifth, sixth, or octave apart It serves
to mark the rhythm, and as an imper-
fect bass, in the aboriginal music. It
is played with 2 sticks, the heads of
which are covered with wool or an
clastic gum.
Tcr (Lat) Thrice ; indicates that a pas-
sage, or (in songs) a verse or part of
one, is to be repeated twice. (Also comp.
2?w.). . . Ter unta, the 3-hooked semi-
fusa.
Terce. i. See Tierce 4. 2. The 3rd
of the canonical hours.
Tercet (Fr.) A triplet; in poetry, a
group of 3 rhyming lines.
Tefnary. (Fr. temaire; It Urntfrio)
Composed of, or progressing by, threes.
. . Ternary form^ Rondo-form. . . Ter-
, . nary measure^ simple triple time.
Terpo'dion. A six-octave keyboard
instr., similar to Chladni's clavicylinder,
with wood substituted for glass as the
tone-producing medium ; inv. by J. D,
Buschmann of Berlin in 1816.
Te^tia (Lat.) A third or tierce . . . Ter*
tia modi, 3rd degree of 'a scale.
Tertian'. (Ger. Tertian zwei'fach.)
An organ-stop consisting of a' tierce
and larigot combined.
Terz (Ger.), Ter'za (It.) The interval
of a third. . . Tersa ma'no (It/" third
hand"), an octave-coupler. . . Terzadi*
cima (It.), Terzdizime (Ger.), the in-
terval of a thirteenth... Terzdezimo'k
(Ger.), a tredecuplet. . . Terzetf (Ger.),
Terzefto (It.), property, a vocal (sel-
dom an instrumental) trio ; now gener
ally called Trio. . . Terz'ftote (Ger,), a
small transverse flute pitched a third
above the ordinary flute... Ttrzi'na
(It), a triplet. . . Terso suJno (It.), a
differential \mt...Terzquartsex?ak-
kord (Ger.), chord of the third, fourth,
and sixth ( | J . . . Terzquintsexfakkord
(Ger.), chord of_the (third), fifth and
sixth ( | r . . Terz' tone (Ger., pl.) r tierce-
tones.
Tessitura (It, "web, framework").
The region covered by the main body
of the tones of a given part, infrequent
' high or low tones not included. The
nearest English equivalent is to say
that the part " lies " high or low.
Te'sto (It) i. See Soggetto.2. Same
as Libretto.
Tete (Fr.) Head (of a note); scroll
Tet'rachprd, i. A'4-stringed .instr<
2. The interval of a perfect fourth. 3.
The scale-series of 4 tones contained in
a perfect fourth (comp. Greek music).
. . Teirachor'dal, relating to or consist-
ing of tetrachords. . . Tetrachordal sys*
tern, the original form of the Tonic Sol*
fa system.
TetrachorMon (Gk.) i. A tetrachord.
2. A variety of the piano-violin.
Tet'rad, A name suggested, but not to
any extent adopted, for chord of the
seventh; analogous to Triad.
Tetradiapa'son. The interval of 4
octaves. (Also quadruple diapason^
octave^ or eighth.)
Tet'raphone. See Tetratone.
Tetrapho'nia. See Organum.
Tet'raphony, (Medieval.) Diaphony
for 4 parts.
TETRATONE-TIME.
Tet'ratone. An interval embracing 3
whole tones ; an augm. fourth.
Text.' The words of vocal music.
Theil (Ger.) See Teil
Thematic composition. A style based
on the contrapuntal treatment or de-
velopment of one or more themes.
Theme. (Ger. The' ma; Fr, theme; It.
te'ma.) Same as Subject. Specifically,
* a theme is an extended and rounded-off
subject with accompaniment, in period-
form, proposed as a groundwork for
elaborate variations (tema con wria-
zio'ni).
Theorbo. (Ger. TheoSbe; Fr. thtorbe,
It. tioSba, tuor^ba.) One of the various
double -necked bass lutes so popular in
the i yth century, the bass strings (ac-
companiment-strings, diapasons), of
which were not stopped on the finger-
board, but were stretched beside it to a
separate peg-box, which latter, in the
theorbo, lay next to the other, though
somewhat higher up in the head. In
its day it was an important member of
the orchestra. (Comp. Lute.)
Thesis (Gk.) The down-beat, strong
beat
Third. (Ger. Terz; Fr. tierce; It.
tcSza.) See Interval The third in a
diatonic scale is also called the mediant.
Thirteenth. An interval embracing an
octave and a sixth ; a compound sixth.
Thirty-second-note. (Comp. Not*.)
A note having half the time-value of a
i6th-note; a demisemiquaver. . .jsnd-
rest, a rest (5|) corresponding in value
to the above.
Thorough-bass. (Ger. General'bass;
Fr. basse chiffr/e.; It. basso conti'nuo.)
A species of rnus, shorthand in which
chords are indicated by figures written
over a running bass (briefly explained
under Chord). It originated in Italy
(basso continue, or, for short, continue)
, toward the close of the i6th century,
, and for 200 years was the common
method of notation for accompaniments
by the organ or cembalo* It is now
principally employed in raus. theory, in
teaching the. science of chords.
Three-lined octave. See Pitt, \, abso-
lute.
Three-quarter fiddle. See Violino
piccolo, under Viohno.
Three-time, s^tiine. Triple time.
Thren'ody. A song of lamentation ; a
dirge.
Thrice-accented octave. See Pitch*
absolute.
Thumb-position. One of the high po-
sitions in 'cello playing, in which the
thumb quits the neck of the instr. -
Thumb-string. Melody-string of the
banjo.
Tib'ia (Lat.) The direct flute ; also, the
name of various organ-stops. . . T. utri-
cula'ris, the bagpipe ... Tibi'cen (pi.
tibi'cines), a flute-player.
Tie. (Ger. Bin'debogen; Fr. liaison;
It. fa'scia) A .curved line joining 2
notes of like pitch which are to be
sounded as one note equal to their
united time- value... Tied notes, (a)
notes joined by a tie ; (), notes (like
eighth - notes, 1 6th -notes, etc.) the
hooks of which are run together in one
or more thick strokes, e. g. J J J .J*
Tief (Ger.) Deep, low, grave.
Tier. Same as Rank (organ).
Tierce. I. Same as Third. 2. The
fourth harmonic of a given tone. 3. In
the organ, a mutation-stop pitched 2j.
octaves above th*e diapason ; noWused,.
if at all, as a component of a mixture-
stop. 4. One of the canonical hours.;
. . Tierce-tones, see PitcJ^ 2. i
Tierce (Fr.) Tierce i and 4..:7V<#
Picardie*, a major third in the closing
chord of a minor movement. . . t, cou-
l/e (slurred- third), a grace wri
montant) t p
Slide. ' ;
Tige (Fr.) Stick (of bow) ; also baguette\
Timbalarion (Fr,) A set of 8 drums of
different sizes, each furnished with a
pedal, on which diatonic and chromatic
scales, and some chords, can be played.
Also Tambour chromatique. . . ,
Timbale (Fn), Timbal'lo (It) Kettle-
drum.
Timbre (Fr.; It. tim'bro.) I. Quality of
tone. 2. A fixed bell without a clap-
per, struck from outside by a hammer.
. .Jeux de timbres, Glockenspiel (b).-+
3. Snare (of a drum).
Timbrel. A tambourine.
Time. i. Same as Tempo. 2, (Gen
Takt, Ta-kfart; Fr.- mesure;- It^
descendant^; see
900
TIME.
tem'po) The division of the measure
into equal fractional parts of a whole
note (^), forming a standard for the
accentuation or regular rhythmic flow
of the movement. The sign for time
is called the time-signature^ and is
usually in the form of a fraction set
immediately after the clef at the begin-
ning of the movement, the numerator
indicating the number of notes of a
given kind in each measure, while the
denominator shows the kind of notes
taken as the unit of measure; e.g. \
(three-four time) means 3 quarter-notes
to a measure, | J J J j; }| (twelve-six-
teen time) means 12 sixteenth-notes to a
measure, | JfiZfi .53333 I- etc -
Among the numerous systems of no-
menclature the ordinary English meth-
od is still that most in use, and is em-
ployed throughout this Dictionary;
some others are appended for the
purpose of comparison. There are
2 classes of tune, Duple and Trifle.
In Duple time the number of beats \&
the measure is divisible by 2 ; in Triple
time, by 3. There are also 2 sub-
classes, Compound Duple time, and
Compound Triple time. In compound
duple time the number of beats to each
measure is still divisible by 2, but each
beat contains, instead of an ordinary
note divisible by 2, a dotted note (or fts
equivalent in other notes or rests) divis-
ible by 3 ; hence the term compound^
each simple beat being represented by
a dotted or compound note divisible by
3, instead of a simple note divisible by
2. In compound triple time not only
the number of beats in each measure is
divisible by 3, but also each beat, as
above. (See Table on p. 201.)
Another English classification is the
following ; it contains the times ordi-
narily employed, to which should be
added simple octuple time f , and com-
pound octuple time (f |), both with eight
beats to the measure ;
(From Troutbeck & Dale's Music Primer.)
Duple.
Triple.
Quadruple.
A
:J J
1 J J.J-
0-. 4 J J J J
H
w
:J J
? J J J
C-JJ J J J'
iff
i -r^/ 1
tffff
i
6 I I
4 0. 0.
* ^>. ^ 0*
* 0. 0. 0. 0.
i
SJ.J.
i j.j.j.
'.-j. j.j.j.
<H
iJ^.A
4 ^. i J.
3 J". J. JV7.
A proposition made in the above
work, to indicate the compound times
by the same signatures as th6se of the
simple times, merely adding a dot to
the denominator to show the tripartite
division :
if
J. 0*
J . J . J .
' J. J. J J.
1'
;JJ.
i j.j.j.
i j. J. J. j.
5 l
! f. f.
i. j". ;>. /.
i- Ji Jl J. Ji
Triple Time*
TIME.
uuple (or Common) Time.
901
Compound. Simple.
Compound,
Simple.
O
e-
S3
I |
3 S
Nine-
Nin
Three-one
Three-tw
Three-fou
Three-eig
>4 H H
II
^ ? ?
fr i 2.
& <-
? 2 -
???e
-1:11
L s S 1 * i
J? n rt
s 1 1 ?? 2 ^ j 3 1
f |. 2. 1 H |. & v
flft*^lJ
g 1 ?.
II
II
If
s-ll
r il
<%% 9 8
siilll
Us | ^- g
sf r ? s
lirr
ff ?g . - !T ff
B- B-
17 B-
w en
If
II
II
II
I!
S*
n
2.
II
s S
& JL
5 : r
I
^ I
S g S 31
cinq qua
cinq hui
90
r f
trois un
a trois deu
a
a
rois quat
trois huit
Mesures i deux ou quatre temps.
Division ternaire.
o a H 3 . sa SP.
Hill
Division binaire.
(or quattroci
otto-cin
psodmo^
iredsip iduwj.
000 00 H B >-
HNlU'l
5 o 9 t>d 3 5 C ^
SL * I |l I I . I
f f sigm? ?
S HtTT| |
O^e^.^Pw
X 5
lied idmax
402
TIMIDAMENTE TON.
is deserving of notice as an ingenious
way of marking the number and posi-
tion of the beats; the measure-note
being found in each case by multiplying
the denominator by 2.
Still another, and highly ingenious
system, by Mr; Frederick Niecks, is
given below ; for the terms duple and
.triple he substitutes binary and ternary,
'referring, not to the number of beats,
but to the grouping of the measure-
notes in twos and threes.
Simple Times.
Simple Binary Time f
Ternary
Compound Times.
\ I I A
Duple Binary Time f $ |
" Ternary "SIS A
Triple
Quadruple "
I I A
V V 3?
10
Finally, a system has been suggested
fa which the word rhythm is substi -
tuted for time; duple and triple retained
for the simple forms of the measure ;'
while the complex forms are called
quadruple rhythm, sextuple rhythm,
octuple rhythm^ etc. However, the de-
sideratum of any new system, i, e. the
plain expression of the number of
beats to the measure as well as of the
number -of notes of a given kind, is not
yet attained ; and well-meant half-re-
forms serve only to make confusion
worse confounded. . .s-time, j-time, ab-
breviations of duple and triple time
respectively.
rimidamea'te (It.) SttAngstlich.
Timidez'za, con (It.) In a style ex-
pressive of timidity or hesitation.
Timoro'so (It.) Timbro'us, fearful...
Timorosammte, timorously, etc.
Tim'pano (It./ pi. tfaffam.) Kettle-
drum... Timpani coper* ti^ muffled'
drums. . - _
Tintinna'bulum (Lat.), Tintinna'bdlo
,(It) A small bellAlso," an ancient
. rattle, formed of little bells or small
disks of metal. ,
Tintinnamett'to, Tintinni'p (It.) A
tinkling or jingling*.
Tin'to, COfl-(It) Wiffr shading; espres.
Tior^ba (It) Theorbo.
Tirade (Fr.) An extended slide ; a rapid
run connecting two melody-notes.
Tirant (Fr.) i. Stop-knob*.. T. aac-
coupler, coupler. 2. Button. 3. Cord
of a drum.
Tirar'si, da (It, "to be drawn out".)
Equiv. to the prefix ** slide-" in the
phrase tromba da tirarsi (slide-trumpet)
and the like.
Tirasse (Fr.) In small organs, a pedal-
keyboard having no pipes of its own,
acting only on the lower keys 1 of the
manual ; also, a pedal-coupler.
Tirana (It.) See Tirade.
Tira'to (It.) Down-bow {arco in gib).
Ti'ra tut'to (It.) A combination-pedal
or draw-stop bringing on the full |5ower
of ah organ. (Fr. grand jeu.)
Tire~(Fn, "drawn.") Down-bow. Also
tires, " draw."
Tischliarfe (Ger., "table-harp".) A
variety of autoharp.
Tocca'ta (It., from tocca're, to touch.y
An early species of composition for
keyboard instr.s, originating in Italy
toward the close of the i6th century.
In style it is free, and bold, approach-
ing the (old) fantasia ; it has no dis-
tinctive form, but consists of runs and
passages alternating with 'fugued 'or
contrapuntal work, built up in the more
elaborate" specimens on a figure or
theme, generally in equal notes, with a
flowing style and lively, rapid move-
ment. Toccati'nai Toccatel'la, diminu-
tives of Toccata.
Tocca'Jfco (It.) In trumpet-music, a
fourth (bass) trumpet-part added as a
substitute for the' kettledrums,
To'(d)tenmarsdi (Ger.) Dead-march
Toil (Ger.) A tone ; pitch ; key, mode,
octave-scale. , .Den - Ton angeben, to
>' give the pitch ; den Ton Halten, to keep
. tte _ pitch. .. Ton'atistand, interval...
Tm'art, Key i-; Ton'artenverwand-
schaft, 'key-relationship. . . Tok'batim-
: mung, the (mathematical) determination
of tones . . Ton'bildung, (a) production
of tone ; (b) vocal culture. , . Ton'dichter>
composer ; Ton'dicktung^ composition
. . Ton' fall, see TatsMus*. . . Ton'-
farbe, " tone-color ' , timbre, quality,
..Ton'fotge, series , or succession of
of tones. .'. TorffAbwtfi melodic lead-
TON-TONIC^
205
ing or progression... Ton' fuss, (a) a
rhythm ; () a measure. . . Ton'gebung,
production of tone ; intonation. . . Tonf-
geschlecht, mode; " the distinguishing
of a chord or key (tonality) as major or
minor" [RIEMANN] . . . Ton'hdhe, pitch.
. . Ton'kunde, science of music. . . Ton'-
kunst, art of music, musical art ; musici
. . Ton'kUnstler, musician. . . Ton'lage,
pitch ; register. . . Ton'leiter, a scale ;
fiinfstufige Tonldter, pentatonic scale.
. . Ton' loch, a ventage. . . Ton'mahrei,
" tone-painting ", imitative music, pro-
gram-music. .. Ton'messer, mdnochord;
sonometer; siren. . , Ton'messung, see
Ton'bestimmung* .. Ton' rein (of violin-
strings), true to pitch, true fifths. . .
Ton'satz, composing ; composition. . .
Ton'schluss, cadence... Ton'setzer, com-
poser. . . Ton'setzkunst, art of composi-
tion . . . Ton'sprache, the language of
tones (i, e, music) . . . Ton* stuck, piece
of music, composition... Ton'slufe,
degree (of a scale). . . Ton' system, sys-
. tern or theory of musical tones. . . Tan'-
umfang, compass . . . Ton'unterschied,
interval . . . Ton'verwandschaft, relation
or affinity of tones. . . Ton'verziehung,
tempo rubato . . . Ton'iverkzeug, a mu-
sical instr., either natural (voice) or arti-
ficial. . . Ton'zeichen, a note or other
sign representing a tone.
Ton (Fr.) i. Tone ; pitch ; donner le
ton, to give the pitch. 2. Mode.
3. Scale, key. 4. A crook (ton de rc-
change).$. (Formerly) a tuning-fork.
. . Ton louche 1 , stopped tone (horn)* . .
Ton d'Sglise, church-mode ... Ton de
rechange, crook... Ton entier, whole
tone. . . Ton feint, see Fictum. . . Ton
majeur (mineur), a major (minor) key,
. . Ton ou'vert, open or natural tone (on
a wind-instr.)...70w relatif, related
key. . . Ton gtntrateur, one of the 7
natural tones. *
Tonal. Pertaining to tones, or to a tone,
mode, or key...7V/w/ fugue, see
Fugue.. . Tonal imitation, imitation
not overstepping the limits of the key
of a composition ; non-modulating imi-
tation.
Tonality. (Ger. Tonalitaf; Fr. tonal-
it/.) The term Tonality, as contrasted
with Key, is distinguished by its broader
significance and wider scope. Key de-
notes simply the mode (of a piece) and
the pitch of that mode ; strictly, it re-
fers solely to the harmonies constructed
from the tones of its own diatonic scale.
On quitting these harmonies, even by
touching an "altered chord", it tres-
passes on the domain of tonality \ for-
here is the dividing line key embraces
the diatonic harmonies referable to one
tonic chord as the point whence they
depart and whither they return, whereas
tonality, taking this same tonic chord
as a starting-point, includes any and
every harmony related to it, so long as
no actual chang6 of tonic is brought
about by a modulation. Tonality might
therefore be briefly defined as the
chords grouped around and attracted by
one central tonic chord, and thus
appears as founded upon the relations
of chords independent (in a measure)
of key. (Comp. Phone, 4.)
Tone. (Ger. Ton; Fr. son, ton; It
tuo'no, suo'no) See Acoustics. . . Tone*
color, "quality of tone.
Tongue. ' I (noun). Same as Reed;
but, in the so-called reed of an organ*
pipe, the tongue is the vibratile slip of
metal producing the tone. 2 (verb).
To employ the tongue in producing,
modifying, or interrupting the tone oi
certain wind-instr.s. . . Tonguing, the
production of effects of tone, on wind-
instr. s, by the aid of the tongue. $inglc+
tonguing, the effect obtained by the re-
peated tongue-thrust to the nearly in-
audible consonant i or d; Double-iongu*
ing, that obtained by the repetition of
t k; Triple-tonguing, by / k t; etc.
With reed-instr.s, single-tonguing only
is applicable,
Ton'ic. (Gen To'nika; Fr. tonique; It
to'nica.) i. The key-note of a scale.
2. In the new system of harmony, th
tonic chord (in C-major the major triad
on C; in C-minor the minor triad, on 1 CJ
is designated as the tonic. j(Comp.
Phone^. * Tonic chord, one having ,,4ht
key-note as root. . . Tome pedal, orgaiy
point on the key-note. . . Tome section^
a section of sentence in the key in
which a composition began, with a
cadence to the tonic of that Jcey. . .
Tonic Sol-fa, a method of' teaching?
vocal music, inv f by Miss Sai^ah Ann
Glover of Norwich, .England, !abcit
1812, and perfected by the RevJ John
Curwen, who became , acquainted with
the method in 1841. Its formal basis
is the "movable-Do" system ; jthe 7
usual solmisation-syllables are employ-
ed, but Englished as follows
doh ray me fah soh lah tei
TONIC.
each is represented in notation by its
initial letter (d r m etc.) , to which a verti-
cal dash is added above or below when a
higher or lower octave is entered ; thus
s, d d 1 in a soprano . ./a I T fl
part would be equiva- |(jU .. I . J . ! []
oi% to *; *
lent, in
For teaching the tones and modulation,
these tone-names are arranged in a
musical chart called a Modulator :
d 1 fl
t - m* -1
i -=- r -s
s DOH' f
TE m
i ta I*
m LAH ~ r
la se
r - SOH d
bafc
d FAH *
t, ME 1,
ma re
l ( ^ RAY s,
de
s, - DOH - f,
t, m,
nij 1| -=r T|
T { S, d!
ta m t la
This arrangement shows the exact
position of each tone in its relation to
the key-tone ; in fact, the fundamental
principle of the method is key-relation-
ship, and that the character of every
tone is decided by the relation which it
holds to its tonic, the name Tonic Sol-
fa signifying "solfaing according to
the tonic principle"-. The system of
tonic sol-fa insists' upon the mental
effect of each tone in relation to the
tonic, i. e. the pupils are taught to
recognize the tones of the scale by
observing the mental impressions
peculiar to each. The parallel columns
of the Modulator show the relation of
key to key, and may be extended
through all the sharp and flat keys, the
former lying to the right, the latter to
the left of the central column. Sharped
tones take the sharp vowel e t flat tones
the broad vowel a (ah). In modulating,
so-called bridge-tones are added in the
notation in the form of small letters in-
dicating the relation of the modulating
tone to the key just left, the large letter
showing the relation of the tone to the
new tonic ; thus *d means, that so A of
the old key is doh of the new, as in
modulating from C-major to {/-major.
For a mere chromatic passing-note,
however, or a transient modulation, the
chromatic syllables are employed In
the printed notation, equal spaces rep-
resent equal times, and fractions of
time are shown by fractions of space ;
the beats (" pulses") are represented
by regular intervals of space. A thick
bar marks the primary accent (strong
pulse) ; the weak pulse is preceded by
a colon ; a shorter bar marks the sec-
ondary accent ; a dot midway in a pulse-
space marks a half-pulse ; and quarter-
pulses are marked by commas. The
continuation of a tone is indicated by a
dash, while a rest (silence) is left simply
as a blank space. In lieu of protracted
explanations, the hymn ll America " is
here appended in the Tonic Sol-fa
notation :
GOD SAVE THE QUEEN.
Key A,
(America.)
Arr. by HARRY BENSON,
S.
d :
d :
r
tl
:- .d
: r
c.
s, :
God
s, :
save
our
gra
:- .fe,
- clous
: s,
Queen,
T.
m :
d :
f
r
:- .r
: r
B.
d, :
(My
m, :
coun -
try,
s,
'tis
of
i t,
thee,
m
d : d
Long live
: 1
: 1,
Sweet land
f
m
:-.r : d
d
d
:-.t, : d
our
no
ble Queen,
1
S
:-.f : m
f.
S|
:-.se, : 1,
of
11
- ber - ty, J
TONISCH-TRACT.
205
r : d : t,
d ; :
s : s : s
s :-.f : m "
1, : s, : s,
God save the
Queen*
d : d : d
Seni her vic-
d :-.t, : d
to - ri ous,
f : m ; r
m : :
m : m i m
m :-.r : d
f, : s, : s,
Of thee I
d, : - : -
sing.
d, : m, : s.
Land where my
d :-.d : d
fa - thers died,
f : f : f
f :-.m : r
m : f.m ; r.d
m : - .f : s
t, : r : t,
Hap - py and
t, :-.d : t,
glo ri - ous,
s, : s, : s,.d
Long to reign
d.l| : s,.f, : m,
o - ver us,
r : s : s
s :-.s : s
d : t|.d : r.m
d : -.r : m
s, : t, : r
Land of the
BI :-.S| : S|
pil - grims' pride,
d : r.d : t,.I,
From ev' - ry
S).f| ! m^ : d,
moun - tain - side
rattentando
l.s,f: m : r
d : :
d : d : t,
God save the
d : : -
Queen !
U : s : f
m : :
fi : s, : s,
Let free < - dom
d, : :
ring!)
Despite strenuous opposition, the Tonic
Sol-fa method continues to spread ; and
it deserves to, having triumphantly
proved its thorough excellence both in
principle and practice.
To'nisch (Ger.) Tonic, i. e. pertaining
to the tonic.
To'no (It.) Tone ; key.
To'nos (Gk,), To'nus (Lat) I. Atone
(whole tone, major second). 2. A
mode.
Toquet (Fr.) Toccato.
Tostamen'te (It.) Rapidly and boldly.
To'sto (It.) The phrase fiu tosto is
used by Beethoven in the sense of
"rather", u quasi"; as Allegro molto,
fib tosto presto , "very fast; nearly
jresto"
Touch. (Ger. An'schlag; Fr. toucher;
It. ta'sto.) The method and manner of
applying the fingers to the digitals of
keyboard instr.s.
Touche (Fr.) i. A key (digital). 2. A
fret. 3. A fingerboard, either with or
without frets,
Toucher <Fr.) i (verfy. To play, as
toucher le piano. (Jouer is the univer-
sally applicable and more modern term.)
2 (noun). Touch, manner of ma-
nipulation.
Touchette (Fr.) Fret.
Toujours (Fr.) Same as Semfre.
Tourmente>e (Fr.) Overdone ; as- by
an overplus of eccentricity, ornamenta-
tion, unusual or disconnected harmo-
nies, oddities of instrumentation, and
the like.
Tourniquet (Fr.) Plug or cap.
Toy Symphony. (Ger. Kin'dersinfonit;
Fr. Poire des Enfants.) The original
toy symphony was written by Haydn in
1788, with parts for 6 toy instr.s (a
cuckoo-pipe r playing c and *, a quail-
call in/, a trumpet and drum in G, a
whistle, and a triangle), with 2 violins
and a double-bass. Key, C-major. It
has been variously imitated.
Trackers. (Ger. Abstratften; Fr.
a&r/g/s.) See Organ.
Tract. (Lat. tractus.) An anthem on
verses usually taken from the Psalms,
substituted, from Septuagesima to
206
TRADOTTO-TREIZIEME.
Easter eve, for the Gradual, or for the
Alleluia following the Gradual, in the
R. C. and some other services.
Tradot'to (It) Arranged ; transposed.
Tra'gea der Stimme (Ger.) Port de
voix.
TrainS (Fr.) Slurred. . . Trainee, same
as Sckleifer(b).
Trait (Fr.) i. Tract. 2. Passage ; vocal
or instrumental run... T. de chant,
melodic phrase... 7 1 . a" harmonic, a
chord-passage. 3. An old form of the
trill-sign (*w) ; also//^#*.
Trahtuf (Ger.) In the organ, the in-
terior key-action, especially the-trackers.
Tranclie>e (Fr.) Cut, crossed... C-
trancke 1 (obsolete ; now C-barrt\ the
Tranquillamen'te (It.) Tranquilly, in
a quiet style; also con tranquillita' . . .
Tranyuicb, tranquil; often (with
Beethoven) equiv, to moderate.
Transcription, i. The arrangement
or adaptation of a composition for some
voice or instr. other than that for which
it was originally intended. 2. (Fr.)
Transcription uniforme^ the uniform
notation of transposing instr.s, peculiar
to the French military bands, attained
by noting them all in the G-clef , i. e.
an octave higher than the ordinary
method.
Transient, Passing, not principal ; in-
termediate ; as a transient modulation.
, -^-Transient chord, in modulation, an
intermediate chord foreign both to the
key left and that reached. . . Transient
modulation, a temporary modulation
soon followed by a return to the key
left
Transition. (Lat. trand'tio; Fr. tran-
sition.) i. Modulation ; specifically,
a transient one. 2. In Tonic Sol-fa,
a modulation without change of mode.
Tran'situs (Lat) u A passing-through".
. Tr. regula'ris^ progression bypass-
ing-notes ; fa irregula'ris, progression
by changing-notes.
Transpose* (Ger. tramponie'rm; Fr.
-. transposer; It variat* il tuo'no.) To
perform or write out a composition in a
4 different key. . . Transposed mode, one
. of, the medieval modes transposed (by a
Jfe in the signature) a fourth above or
fifth below its regular pitch. An added i
EQ raised the new pitch by a fourth,
1. e. lowered the original pitch by a tone,
Transposing Instruments, r. Those
the natural scale of which is always
written in C-major, regardless of the
actual pitch. 2. Instruments (chiefly
with keyboards, as the pfte., harpsi-
chord, etc.) having some device by
which the action or strings can be
shifted so that higher or lower tones are
produced than when they are in the
normal position. . . Transposing scales,
see Greek music.
Transpositeur (Fr.) i. A transposes
2. A mechanism attached to the valve-
horn as a substitute for the numerous .
crooks generally used ; inv. by Gau-
trot. 3. The transposing keyboard of
ft&piano transpositeur, inv. by Auguste
Wolff of Paris in 1873.
Transposition, See Transpose. . . Trans-
positions'skalen (Ger.), " transposing
scales.
Transverse flute. See Flute. '
TrascinanMo (It.) Same as Strasd.
nando*
Trasporta'to(It) Transposed... Chief-
m trasportatit see Chiavette.
Trattenu'to (It.) Held back, retarding
the tempo. (Abbr. trait.}
Trau'ermarsch (Ger.) Funeral march.
Trau'rig (Ger.) Sad, melancholy. -
Travailler (Fr.) " To work". An in-^
strumental part is said t to fravailler
when it leads while the others act as an
accompaniment or filling... Musique
travailMe, music abounding in passages
and bristling with difficulties.
Travel. To 'carry ; said of sound.
Travers^ote (Ger.) i. Flauto travel
so. 2. A tf organ-stop resembling the
orchestral flute in timbre.
Traversifere (Fr.), Traver/so (It)
Transverse. Traverse '(tor'jfaufa tra-
f wrso) occurs in scores.
Tre (It) Three. , .A ire, for 3 voices or
instr.s; a tre wci, for 3 parts-., TV*
torde, see Una corda.
Treble. See Soprano. . . Treble-clef, G-
olef.
Trede'zime (Gen) A thirteenth.
Trei1>end (Ger.) Urging, hastening;
accelerando \ stringendo.
Treizifeme (Fr.) A thirteenth. " "
TREMANDO-TRILU
Treraan'do, Tremolan'do (It.) With
a tremolo-effect.
Tremblant (Fr.) Tremulant.
Tremblement (Fr.) Trill; tremolo...
Trembler i to execute a trill or tremolo.
Tre'molo (It., "a quivering, flutter-
ing ;" comp. Vibrato.) I. In singing,
a tremulous fluctuation of tone, effective
in highly dramatic situations, though
frequently a' mere mannerism or vocal-
defect. 2. On stringed instr.s, an effect
produced by the extremely :
rapid alternation of down-
bow and up-bow, marked
3. On the pfte., the rapid alternation
of the tones of
a chord, e. g.
written : -g-= or
^^5^33?
played:
(2 examples from Gade, Op. 51):
i. Written:
played :
2. Written:
played:
J
(This last is simply a trill without after-
beat.) [N.B. The pfte.-tremolo is not al-
ways, written as an exact abbrevia- ^j
tion (comp. Abbreviation 2); e. g,, & ^
may ^BaHESsTSEPSS
signify JgSajgJgJgpJgJg
instead. 11111111, in case the
of J^J ^ J^J* tempo is
s slow enough to admit of the former
reading.] 4. A fluttering effect pro-
duced by the tremolo-stop or tremu-
lant. 5. A tremulant
Treitiolp'so (It.) With a tremulous,
fluttering effect.
Tremulant. A mechanical device in the
organ for producing a tremolo. It con-
sists of a valve or - arm of thin metal
which, when set in action by a draw-
stop, partially, checks the inflow of
wind, by $rhich latter it is forced to os-
cillate rapidly, the consequent alternate
checking and admission of the wind to
the pipes causing a tremulous tone.
Organ-pipes producing a similar tone
without the tremulant are those of the
PiffarOt Undo, maris, etc.
Tremulie'ren (Ger.) To execute a trill
or tremolo; also sometimes used (as a
noun) for vibrato.
Trenchmpre. An old English country-
dance, in lively tempo and triple or
" compound duple time.
Trenise' (Fr.) A figure in the quad-
, rille.
Trepo'dion. See Ttrfodion.
Tres (Fr.) Very; molto.
Triad. (Ger. Drei'klang\ Fr. and It
- triafde?) A " three-tone " chord com-
posed of a given tone (root) with its
third and fifth in ascending diatonic
order. . .Harmonic triad^ a major triad
Triangle. (Ger. Triangel; Fr. triangle;
It trian'golo.) An orchestral instr.
of percussion, consisting of a steel rod
bent into triangular shape, one corner
being left slightly open ; it is struck with
a metal wand. The rhythm alone be-
ing noted, the triangle-part is usually
written on a single line, headed by the
/zff&-signature only.
Tri'as'(Lat) A triad.
Tribrach, A metrical foot of 3 short
syllables, having the ictus on either the
first or second, thus: (~> ^or^ ~).
Tri'chord. A 3-stringed instr. 7H-
chord pfte., one having 3 strings (uni-
sons) to each tone throughout the greater
part of its compass.
Trich'ter (Ger.) Tube (of a reed-pipe);
bell (of a horn or trumpet). Often
Schall' trickier.
Trici'nium (Lat.) An a cappella compo-
sition for 3 voices.
Tridiapa'soa. A triple octave.
Trill. (Ger. Tril'ler; Fr. trite; It
(Also Shake.) [Sign r 01
; ObS. /., +,
~~ c ^., A grace occupying the en-
tire time-value of the principal note*
208
TRILL.
being the rapid and even alternation of
the latter with a higher auxiliary (the
maj. or miru second above); except
when the time for its execution is so
brief as to reduce it to a mere turn, or
an inverted mordent. In modern mu-
A ( a ) fr ft) tr
sic, the trill generally begins on the
principal note (a), and ends with an
after-beat (), which should be written
out ; if to be begun on the auxiliary, an
appoggiatura should be set before the
* principal note (c).
rrprfl
tr
A dotted quarter-note would call
for one more group of 4 i6th-notes ; a
I for 2 such additional groups ; etc.
These are the typical forms of the long
trill; they differ in different kinds of
time; e.g.
or when preceded by an ascending appoggiatura :
the tempo also exercises a controlling
influence, the
following trill:
per-
formed :
-r^ passing over
E' into
(Presto). The last is one form of the
short tritt) which might, in turn, be-
come a long trill ir frtsto, when the
time-value of the principal note per-
mits of such extension, e.g.
No. 6, written thus :
(All , commodo)
would be
executed :
The after-beat may be modified chio?
matically, as at No. 3, or thus :
TRILL.
209
(adagio)
(all , moderate) (presto)
It is often in place when not written
put (comp. Ex. b under chain of trills)\
its introduction is then either a matter
of taste, or depends on what follows,
it being usually required where the trill
is followed by an accented note ; though
the next three examples require no
after-beat :
Successive trills, even though alike in i reason of the notes immediately prt-
notation, may diffe* in execution by I ceding them:
A trill on several tones in direct sue- 1 it may be performed with or without aa
cession is called a chain of trills ;\ after-beat:
TRILLERKETTE TRIPLE-CROCHE.
though in case any step is merely a chromatic alteration of a principal note,
the after-beat is best omitted :
the following requires short trills like
inverted mordents :
(all-.)
The only rule now universally appli-
cable to the execution of the trill is one
equally applicable to all other graces ;
namely, that it must exactly fill out the
time allotted to it, neither accelerating
nor retarding the rhythm. A peculiar
mode of commencing the trill, called
the ribattuta\ and still sometimes em-
ployed by vocalists, flutists, and violon-
cellists on account of the smoothness
attainable thereby, has the following
forms :
0) , '
5g5S
In the lyth and i8th centuries, and
early in the igth, a common practice was
to begin the trill on the auxiliary ', and
end on the principal note. For varieties
of " the trill indicated by the signs
^ A*V, etc., compare Graces
Mordent^ Signs.,. Double and Trifle
Trills, in alternate thirds, sixths, etc.,
for both hands, frequently occur in
modern pfte. -music.
Tril'lerkette (Ger.) Chain of trills.
Trillo (It.) Trill. (N. B. The tritto de-
scribed in Caccini's Singing Method
(1601) " consists of the rapid repetition
of a single note. ..He also mentions
another grace which he calls the Gruppo,
which closely resembles the modern
shake :
GROVE.)- ' Trilh capri'no, see Bocks-
triller.
Trine. A 3-tone group, or triad, com-
posed of any given tone (the rooi) with
its major thirds above and below (as
Afy-C-JS). Compare Duodene.
TrinVlied (Ger.) Drinking-song.
Tri'p (It.) i, A composition for 3
voices or parts, (a) The Instrumental
Trio, usually in sonata-form, is most
commonly either a Pianoforte Trio
(pfte., violin, 'cello), or a String Trio
(violin, viola, 'cello ; or 2 violins and
'cello). Compositions for 3 concerted
instruments, accompanied by a fourth
playing a basso continue, were formerly
also styled trios. . .An Organ Trio is a
3-part organ-piece for 2 manuals and
pedal, the registration of the manuals
being strongly contrasted. (b) The
Vocal Trio is usually in song-form or
aria-form. 2. In minuets, marches,
gchera, etc,, the trio or alternative) is a
division set between the first theme and
its repetition, and contrasting with it by
a more tranquil movement and canta-
bile style ; called "trio" because writ-
ten in 3 parts, in contrast to the ordi-
nary 2-part style of the principal .subject
Trio'le (Ger.), Triolet (Fr.) Triplet
Triomphale (Fr.), Trionfa'le (It)
Triumphal.
Triomphant (Fr.), Trionfan'te (It.)
Triumphant.
Trip'elfuge(Ger.) Triple fugue. . . Trip'-
elkonzert, triple concerto (for 3 solo
instr.s with orchestral accomp.) . . . Trip*-
eltakt, triple time. . . Trip'ehunge, tri-
ple-tonguing.
Tripho'nia. See Organum.
Tri'pla (It.) i. A. triplet 2. Triple
time. . . Tripla di mi'nima, 3-2 time.
Triple counterpoint, fugue, time. See
the nouns.
Triple-croche (Fr.) A 32nd-note.
TRIPLET-TROMMEL.
Trip'let. (Ger. Triple; Fr. triolet; It
tri'pla.). A group of 3 equal notes to
be performed in the time of 2 of like
value in the regular rhythm ; written
Trip'lum (Lat.) In medieval music, a
third part added to the original Altus
and Bass'us of the organum, and gener-
ally the highest of the 3 ; hence, Engl.
treble.
Tri'pola (It.) Same as triple
Trisemito'nium (Lat.) Minor third.
Tristez'za (It.) Sadness, melancholy ;
from tri'sto,-a t sad, afflicted.
Tri'te (Gk.) The third tone from above
in the conjoined, disjoined, and extreme
tetrachords. See Greek music.
Tri'tone. (Lat. and Ger. Tri'tonus;
Fr. triton; It. tri'tono.) The interval
of 3 whole tones, .
or an _ augment- A J gn*
ed fourth ; as \j '
Tritt (Ger.) Treadle or pedal. ... Tritt'-
harfe, pedal-harp.
Tri'tus (Lat.) The third authentic
church-mode (Lydian).
Tro'chee. (Lat. trocha'us^ A metri-
cal foot of 2 syllables, long and short,
with the ictus on the first (-^ ^).
Trois (Fr.) Three. . .Mesure a trois-
deux, 3-2 time ; a trois~huit, 3-8 time ;
a trois-quatre^ 3-4 time.
Troll. A round or catch.
Trom'ba (It.) A trumpet... Tr. croma'-
tica^ chromatic trumpet, valve-trumpet.
. . Tromba rnari'na (Sea-trumpet,
Marine trumpet, Nun' s-Jiddle; Ger.
Non'nengdge, Trum'$chdt\ a very
ancient single-stringed bow-instr., hav-
ing for a body a long thin wooden shell
made of several staves, a flat betly,
short neck, and I thick gut string gen-
erally tuned to C (sometimes one or
more additional strings as drones). One
foot of the bridge rests loosely on the
belly, the harsh vibration thus induced
rendering the tones very powerful, so
that the instr. was formerly used in the
English navy for signalling. The nat-
ural harmonics have a far more pleasing
quality of tone, which accounts for, the
comparative popularity of the instr.,
in Germany, from the I4th to the i6th
century, in German churches and con-
vents (whence the name ' ' Nonnengeige" ,
nun's-fiddle). It occasionally had an
additional octave-string, and some speci-
mens were provided with sympathetic
strings within the body. . . TV. sorda,
muted trumpet. . . Tr. spezza'ta, earlier
name for the tromba bassa (bass trum-
pet).
Trombet'ta (It.) i. (Also trombettattfre^
trombettiefre^ trombetti'no.) A trum-
peter. 2. A small /trumpet (dimin,
trombetti'na).
Trombone', i. (It and Fr, trombo'ne;
Ger. Posaufne) An orchestral wind-
instr. of metal, belonging to the trumpet
family, with the distinctive feature of
the slide-mechanism (see Slide), in
which shape it dates probably from the
1 5th century. It is constructed in 4
sizes (alto, tenor, bass, and the more
recently added contrabass); the tenor
trombone is the one in most general use.
Gevaert suggests that the tromba da
tirarsi of Bach's scores was possibly a
soprano tr., the place of which was usu-
ally supplied by the cornetto* It is a
non-transposing instr., and is written
in the -clef (alto or tenor) for the alto
and tenor instr.s, and in the ^-clef for
the bass and contrabass. In playing,
there are 7 positions, obtaine on suc-
cessive descending semitonic degrees
by gradually drawing out the slide, the
istfos. being when the slide is pushed
completely in, i. e. when the tube is
shortest ; in each position the tones
which can be regularly made to speak
are the partials 2 to 8. Utilizing all 7
positions," the tenor trombone in Ity has
-a chromatic ' \- this is
compass of , y lljKT^ ^ e re ~
2! octaves, C5 j Jnf ' ular or-
chestral
compass, above which are the 4 difficult
tones J 1 , A **fc and #; while below,
separated by a tritone from the rest of
the scale, are the so-called pedal-tone$
gy The orchestral
sS? i . i 1 |~" compass of the
"^ K-JT -T rf ^T ^ trombone is
** * ** *
that of
the bass trombone A/ 1 , The valve-
trombone possesses greater agility than
the slide-trombone, but is apt to be
inferior to it in purity of tone. (Comp.
art. Trumpet^ last sentence.) 2. In
the organ/ a powerful reed-stop (same
as Posaune).
Trom'mel (Ger.) A drum. . .
bass, the rapid reiteration of a basa tone
212
TROMPE TRUMPET.
(a term of disparagement). . . Trom'mel-
kloppelor -stocks, drumsticks. . . Gro'sse
TV., bass fawo...*Mili tar* trommel^
military drum, side-drum... Roll' trom-
mel, tenor faum.i.Wit'beltronimel,
side-drum.
Trompe (Fr.) A hunting-horn ; former-
ly, a trumpet. . . Tr. de Btarn, or tr* a
laquais, Jew's-harp.
Trompe'te (Ger.) Trumpet. . . Trompe'-
tengeige, tromba marina. . . Trompe'-
tenregister,-werk,'Zug, trumpet-stop. . .
Trompiter, trumpeter.
Trompette (Fr.) i. Trumpet... TV. a
coulisse, slide-trumpet... TV. harmo-
nieuse, trombone ... TV. tfharmonie, or-
chestral trumpet. . . TV. marine* tromba
marina. 2. Trumpeter ; bugler (for
cavalry).
TfOpe. (Lat tro'pus, pi. tro'pi; Ger. pi.
-Tro'pen.) One of the numerous formu-
las, in the Gregorian chant, for the close
of the lesser doxology following the in-
troi't. Originally, there was but one
for each mode; the different. formulas
are now termed differentia.
Trop'po (It.) Too, too much,; allegro,
ma non troppo, rapid, but not over-
rapid.
Troubadour (Fr.; Span, invader*; It.
trovato're; comp, Trouvere.) One of
a class of poet-musicians originating in
Provence, and flourishing in southern
France, northern Spain, and Italy from
the nth century till toward the close of
the I3th. The chief theme of their
lyrical effusions was love (comp. Meis-
tersinger\ Their art, at first cultivated
by princes and knights, gradually de-
cayed, passing into the hands of their
former attendants, the Me'nestrels.
Troupe (Fr.) A band or company of
musicians.
Trouvere, Trouveur (Fr.) One of a
class of medieval bards in northern
France, especially Picardy, contcmpo*
rary with the troubadours and often
confounded with them, though their
poems were chiefly of an epic character
and in strong contrast to the elegant
lyric verse of the latter. We owe to
the trouveres, besides their gra;id epics
and the -fabliaux, chansons dege&te, etc.,
the origination of the prose tales of
chivalry (the famous Round Table
cycle).
Triib(e) (Ger.) Gloomy, dismal; sad,
melancholy.
Trug'fortschreituiig (Ger.) Progres-
sion of a dissonant chord to a dissonance
instead of its resolution to a conso-
nance. . . TrugschlusSi deceptive ca-
dence.
Trump. I (obs.) Trumpet. 2. Jew's-
harp.
Trumpet, i. (Ger. Trompef 'te; Fr. trom-
pette; It. trom'ba.) An orchestral metal
wind-instr. having a tube of somewhat
narrow scale, and a cupped mouthpiece ;
the convolutions of the tube are straight-
er than in the horn, and the bell is
much smaller ; length of tube, for the
typical pitch in Z>, is about 7 ft. 3^ in.
By the aid of- crooks the pitch of the
prime tone in the natural trumpet may
be modified to any degree of the 12*
tone chromatic scale (A, Jty, B, C, Efy,
D, fy, E, F, /J{, G, A\> ; and also to
high A and Jfy). The natural trumpet
has the following scale
which, by combining the tones obtained
by using- the various crooks, gives the
following complete compass :
Good in all nuances
The tone is brilliant, penetrating, and
of great carrying power; the stopped
tones, however, are so disagreeable as
to be practically useless. The trumpet
is a transposing instr., and its music is
written in the -clef . The chromatic
or valve-trumpet is provided with 3
valves (comp. Valve). [N. B. With
regard to the assumed inferiority in
tone of the valve-trumpet and valve-
horn, as compared with the natural
instr.s, no less an authority than Ge~
vaert writes: "The chromatic horns
and trumpets, when well constructed,
TRUMSCHEIT-TURN.
possess all the qualities of timbre
proper to the natural instr.s, in addition
to their own resources ".] 2. In the
organ, an 8-foot ree^i-stop of powerful
tone.
Trum'scheit (Ger.) Tromba marina.
TVba, i. The straight trumpet of the
Romans. 2. A name applied to the 3
lowest members of the saxhorn family.
The original tubas inv. by Wieprecht
of Berlin in 1835, are of broad scale
and have 4 valves, giving a complete
chromatic scale of about 4 octaves.
The bass tuba in -5ft, and contrabass
tuba in^i|7,are the ordinary orchestral
sizes in Germany ; these, and also some
others, are in general use in military
bands. . . Tuba curva, a species of nat-
ural trumpet of very limited compass,
taught in the Paris conservatory at close
of 1 8th century. 3. In the organ, a
reed-stop (tuba mira'bilis) on a heavy
pressure of wind, of very powerful and
thrilling tone.
Tnlncen (Lat) A blower of the trump-
et or tuba,
Tucket. A flourish of trumpets.
Tumultuo'so (It.) Vehement, impetu-
ous ; agitated.
Tun. Drum of the aborigines of Yuca-
tan;
Tune. An air, melody; a term chiefly
applied to short pieces or familiar melo-
dies of simple metrical construction.
Tuner. I. (Ger. Stim'mer; Fr. accor-
deur; It. accordafo're^ One who tunes
instr.s as a profession* 2. Same as
Tuning-cone. 3. The. adjustable flap
or incision at the top of an organ-pipe,
by setting which the pitch is regulated.
Tuning, i. The act or process of
bringing an instr. into tune. 2. The
accordance or accordatura of a stringed
instr. . . Tuning-corn \ a hollow cone of
metal, used in tuning metal flue-pipes
in the organ. Their tops are u coned
out " by inserting the point of the cone f
this increasing the flare and raising the
pitch; and " coned in" by jjushing
the inverted cone down over their tops,
decreasing the flare and lowering the
pitch. . . Tuning-crook, a crook. . . Tun-
ing-fork* a 2-pronged instr, of metal,
yielding one fixed tone (usually a 1 ;
Tonic Sol-fa, 2 ), and employed to give
the pitch for tuning an instr., begin-
ning a vocal performance, etc. . . Tun-
ing-kabtmer, a hand-wench used in
tuning pftes. . . Tuning-horn, a tuning-
cone. . . Tuning-key, a tuning-hammer.
. . Tuning-slide, a sliding U-shaped
section of tne tube in certain brass
instr.s, used to adjust their pitch to
that of other instr.s. . . Tuning-wire,
comp. Pipe 2, b.
Tuo'no (It.) A tone ; a mode.
Tur1>a (Lat., " crowd, throng"). In
medieval passions, the chorus repre-
senting the Jewish populace, or the
heathen, and taking part in the action
of the play.
Tur'ccva (It.) Turkish. . .Alia turca,
in Turkish style, with a boisterous
and somewhat monotonous 'harmonic
accomp.
Turkish music. See Janizary music.
Turn. (Ger. . Dop'pelschlag; Fr. groups;
It. gruppet'to.) Sign fiv; obs. GO, $ , g
(back turns). A melodic grace consist-
ing, in what may be termed the typical
form (the direct turn), of 4 notes, a
principal note (twice struck) with its
higher and lower auodliary (the maj. or
min. second above and below, each
struck once). The sign is set either
after, or over, the note modified ; a
chromatic sign over or under the turn-
sign alters the higher or lower auxiliary
respectively.
I. Turn-sign after the note.
314
TURN*
Except in extremely rapid move- 1 before the turn, for one-half or % of its
zaents, the principal note 5s dwelt on, I time-value :
and the turn is executed in equall usually loses a larger proportion of its
notes. But a dotted principal note! value:
and in. a slow movement the second
member of the dotted rhythm (e. g. the d
in the last example) is frequency rob-
bed of half its value, which is added to
the repercussed principal note; this
form is occasionally called a partial
turn. Mozart some-
to be played :
II. Turn-sign over the note* In
slow tempi, or where the principal note
requires special stress, the turn may be-
gin on the principal note, as in :
TUSCH-TYPOPHONE.
*
this last ornament was called the shaked I Commonly, however, this turn begins
turn (Ger. pralknder Doppelschlag). I immediately on the higher auxiliary :
III. The Back Turn (sign the in- j on the lower auxiliary, and the principal
verted or vertical turn-sign GO g) begins 1 note is generally dwelt on after the turn :
I
co
IV. The sign for the Double Turn
v(f) calls for a turn in 2 parts at once.
Tusch (Gen) A thrice-repeated flourish
of trumpets accomp. by the roll of the'
drums, or a flourish by the wind-instr.s
in the orchestra, in token of applause
or welcome.
Tut'to,-a (It) All, whole; con tutta
lafor'za^ with full power or strength.
'. Tutti (pL), in scores, indicates the
entrance of the whole body of instru-
mentalists or vocalists after a solo
(comp. Solo). . . Tutto arco, whole bow.
Tuyau (Fr.) A pipe ; a tube (as of the
trumpet). . . 7! h> anche, reed-pipe. . . T.
& louche -, flue-pipe. . . T. cforgue, organ-
pipe.
Twelfth. I. The interval of an octave
plus a fifth ; a compound fifth. 2, A
mutation-stop in the organ, pitched a
twelfth higher than the diapasons.
Twenty-second, A triple octave.
Twice-accented (a", b", etc.) See
Pitch, absolute.
Two. Two-time, 2-time^ duple time. . ,
Two-lined octave -, also 5, 7, etc. ; see
Pitch, absolute.
Tympan, i. A timbrel or drum. 2.
An obsolete Irish instr., probably a
kind of crowd. .
Tym'pano (It.) See Timpano.
Tympanon (Fr., from Gk.) i. Dulci-
- mer. 2. Same as tympanum.
Tym'panum (Lat.) An ancient drum,
sometimes having one head like, a tam-
bourine, sometimes two, closed, and
rounded below like a kettledrum, and
beaten with a stick or the hand.
Ty'pophone. A keyboard instr., the
tones of which are produced ^ by steel
wands and a hammer-action similar to
2l6
TYROLIENNE UNGERADER TAKT.
that of the pfte. Compass 4 octaves
(chromatic) from c l to c* inclusive.
Tone sweet and sustained, resembling
that of the harmonic flute.
Tyrolienne (Fr.) A Tyroiese dance or
dance-song, a peculiar feature of the
latter being the Jodler, especially as a
refrain. Hence, a modern round dance
in 3-4 time and easy movement.
u.
Ol>en (Ger.) To practise.
(Her (Ger.) Over, above,.. tt'berblasen,
to overblow ; overblowing. . . O'ber-
gang t a transition, modulation. ..ff'&er-
gefiihrte ^Stimmen, divided stops (or-
gan). . . tjr'bergreifen, (a) to cross the
hands in pfte. -playing ; (&) same as De 1 -
mancA/;' ubergreifendes System^ , in
Hauptmann' s theory of harmony, a key-
system (i. e. a chain of 3 fundamental
triads) formed by adding to the given
key-system a new link or triad on the
dominant or subdominant side ; e. g.
adding to d/F-a-C-e-G-b-D/f the triad
D-f$-A, and thus forming the new
leitung, transitional passage. . . G'ber-
w&ssig, augmented (of intervals).:,
fc O'berschlagen (a) to cross hands (on a
keyboard instr.); (b) to overblow (of
organ-pipes and. wind-instr.s); (c) see
umschlagen . . . ff'bersetzen, to pass
over (as a finger over the thumb on the
keyboard, or one foot over the other on
the pedals) . . . ff'bersteigen, to rise
above ; said of a vocal part which tem-
porarily ascends above one naturally
higher.
tilmng (Ger.) Exercise ; practice.
Ugua'le(It.) Equal, like, even. . . Ugua>
lita\ equality, conformity. . . Ugual-
men'te, equally, alike, evenly.
Uma'no,-a (It) Human. . . Voceumana,
(a) vox humana ; (b) cor anglais.
Um'fang (Ger.) Compass.
UnVkehrung (Ger,) Inversion.
Umo're (It.) Humor.
Um'schlagen (Ger.) i. Of the voice, to
break; umschlagende Stimme, voice
alternating between chest-tones and
falsetto. 2. Of wind-instr.s, to over-
blow ; also compare Goose.
Um'stimmung (Ger.) i. A change of
pitch or key in wind-instr.s or the ket-
tledrums, called for in scores by the
word Muta. 2. A scordatura of
stringed instr.s,
Un, line (Fr.) A, or an, . , Un feu plus
lent) a little slower,
Un, u'no, u'na (It.) A, or an..,/a
corda, with the soft pedal (pfte.) ; Tre
corde then signifies that the soft pedal
is to be released.
Unaccented octave. The small octave
(see Pitch, i).
Unacknowledged note. An unessen-
tial or passing-note.
Un'ca (Lat.) Hooked ; hence, an eighth-
note (J)' 9 bis unca (twice hooked), a
sixteenth-note( fe),'
Uncoupled. (Ger. Koppel ab.) In or-
gan-music, a direction to push in a
. coupler previously drawn. (Usually
"off" ; as a to Pel off)
Un 7 da raa'ris (Lat. , " wave of the sea".),
In the organ, an 8-foot flue-stop pitched
a trifle lower than the surrounding
foundation-stops, the interference of its
tone with theirs producing beats and a
wavy, undulatory effect of tone.
Unde^ma (Lat. and It.) The interval
of an eleventh.
Undec'uplet. A group of n equal
notes to be performed in the tune of 8
(or 6) of like value in the regular
rhythm.
Under-chord. See Phone, i . . . Under-
song t burden, refrain. . . Undertones
(from Ger. Un'tertone), the lower par-
tials. (See Acoustics.)
Underline (Ger.) The interval of an
eleventh.
Undezimo'le (Ger.) An unde.cuplet
Undulazio'ne (It.) On bow-instr.s, the
vibrato effect.
Un'eigentliche Fu'ge (Ger.) Fuga
irregularis.
Un'endlich (Ger.) Infinite.
Unequal temperament. See Tempera-
ment. . . Unequal voices, voices different
in compass and quality ; mixed voices.
Unessential note. One forming no
essential part of the harmony or melody,
as passing-notes, changing-notes, many
graces, etc.
Ung / arisch (Ger.) Hungarian.
Un'gebunden (Ger.) See Gebunden.
Un'geduldig (Ger.) Impatient.
Un'gerader Takt (Ger.) Triple time,
UNGESTRICHENE OKTAVE-VALVE.
217
Un'gestrichene Okta've (Ger.) Un-
accented octave (the "non-lined," or
small, octave).
Un'gestiim (Ger.) Impetuous(ly).
Un'gleich (Ger.) Unequal. . . Un'gleich-
schwebende Temperatur', unequal tem-
perament
Un'harmonisch (Ger.) Inharmonic.
Unichord. (Lat. unickor'dum) I. Mono-
chord. 2. Tromba marina,
Unio'ne (It.) Coupler.
Unison, (Lat. uniso'nus; Ger. Unison';
Fr. unisson; It. uni'sono.} Properly,
a tone of the same pitch as a given
tone ; by extension, a higher or lower
octave of a given tone ; as alVunhono
(It.), & V unisson (Fr.), in unison, at
the unison, progressing in unison (in
this latter sense often found in scores,
as where a double-bass part is written
out and the 'cello has merely the direc-
tion col basso alVunisono [c. B. alFuni-
sono\, i. e., the same part an octave
higher). Also, in the pianoforte, a
group of 2 or 3 strings struck by one
hammer and yielding one tone; one
such string is called a unison-string.
Finally, sometimes equiv. to Prime.
Unitamen'te (It.) Unitedly, together
with. . . Uni f to,-a, united, joined.
U'no (It.) See Un.
Unrein (Ger.) Impure, false; out of
tune.
Un'ruhig(Ger.) Restless(ly), unquiet(Iy).
Un'schuldig (Ger.) Innocent(ly).
Un'ter (Ger.) Under, below, sub-...
Un'terbass^ subbass. . . Unterbroch'm,
interrupted. . . Un'ter dominante, .sub-
dominant. . . Un'ter leitton, dominant
seventh. , . Un'termediante, submediant
. . Un'ter satz, subbass. . . Un f tersetzen,
to pass under (see Oberseteeri). . . Un'-
ter stimme, lowest part; bass part.,.
Un'tertaste, a key (digital) belonging
to the lower or white row ; a white key.
. . Un'tertone (pi.), Un'ter tonreike, the
series of lower harmonics of a given
tone ; the undertones; opp. to Qber-
tone.
Un'vollkommen (Ger.) Imperfect.
Uo'mo (It.) Man. (See Primo.)
Up-beat. (Ger. Auftaktj Fr, levt: It.
leva'ta?) I. The raising of the hand in
beating time; opp. to down-beat. 2.
An unaccented part of a measure. '
Up-bow. (Ger. Hinauf strich; Fr.
jboussJ; It. arco in su.) In playing bow-
instr.s, the stroke of the bow in the
direction from point to nut ; sign V or
A, which is called the up-bow mark.
Upright piano. See Pianoforte.
Ut. I. The first of the Aretinian syllables
(see Solmisation). 2. Name in France
of the note C. . .In the French system
of marking the absolute pitch, the sev-
eral octaves are marked as follows :
French system Octavea octave_! octavej octave a octave a octave^ octave^
begins on #/_ 3 # i ^i / a /s /* *rf
English system C a Ci C e c 3 c 1
Thus Middle-C is marked c l in the
English system, and ut* in the French.
Ut (Lat.) As, just as, like ; ut supra,
as above.
v.
V, An abbrey. for Vide (v. s. = vide
sequens), Violino, Volti (V. S. = volti
subito), Voce (m. v. = mezza voce.)
V, ory u ., Violoncello;^, Viola; T
or "K, Versicle; Vv., molini.
Va (It.) Go on, continue. . . Va cre-
scendo, go on increasing (the power).
Vacillan'do (It.) Vacillating ; noting a
passage to be performed in a wavering,
hesitating style. !
Va'gans (Lat.) See Quintus.
Va x go (It.) Vague, dreamy.
Valeur (Fr.), ya^or (Lat.), Valo're
(It.) Value, i. e. time-value. (Ger.
WtrtJL)
Valse(Fr.) Waltz; valse chantte, waltz-
song ; valsc de salon, a salon-piece in
waltz-time for pfte. :
Value. (See Valeur.) The value (or,
better, the fcW-valu'e) of a note or rest,
is its length or duration as compared
(a) with other notes in the same move-
ment, or (t>) with the standard whole
note a or any fractional note.
Valve., i. (Gen Venti?;^ piston; It.
val'vola, pisto'ne.) In certain brass
wind-instr.s, a device for diverting the
air-current from the main tube to^an
additional side-tube, thus lengthening
the air-column and lowering the pitch
of the instrument's entire scale* By
the aid of valves, natural instrs-are
Iti
VARIAMENTE-VENTIL.
altered to chromatic instr.s commanding
a chromatic scale throughout their com-
> pass. (Compare Horn^ Trumpet; also
Key 3.) The valves are operated by
the fingers of the right hand; their
usual number is 3, No. I -lowering the
pitch by (approximately) I tone, No.
by a semitone, and No. 3 by i^ tones.
1 Two systems are in ordinary use ; the
Piston-vaZvt, and the Rotary Valve.
(a) The Piston-valve is a cylindrical
plunger working in an air-tight cylinder,
terminating in a short rod surmounted
by a button, and pierced crosswise by
2 round holes ; the enclosing cylinder
is similarly pierced, on either side, one
perforation communicating with the
main tube, the other with the side-tube.
When the piston is not depressed, one
of its holes is opposite to those in the
cylinder which communicate with the
main tube, so that the open (natural)
tone of the tube can be sounded ; on
depressing the piston with the finger,
communication with the main tube is
cut off, but opened with the side 7 tube,
so that the lower tone sounds. On re*
leasing the piston, a spiral spring
causes its return to the original position.
The Rotary^ Valve is "a four-way
stop-cock turning in a cylindrical case
in the^plane of the instrument, 2 of its
4 ways forming part of the main chan-
nel, die other 2, on its rotating through
a quadrant of the circle, admitting the
air to the oide-tube ", Its manipulation
is lighter than that of the piston, but it
is more liable to derangement. 2. In
the organ, the principal valves are the
. suction-wives or sitckers admitting
, wind to the bellows and preventing its
escape ; the waste-pallet, relieving the
bellows of an over-supply of wind ; and
the key-valves or pallets.
Ifariamen'te (It) Variously, different-
ly-
Variance (It and Fr.) A variant ; an-
other (optional) reading. See Ossia.
Variation* (Ger. and Fr. Variation';
It, variatio'ne.) One of a set or series
of transformations of a theme by means
of harmonic, rhythmic, and melodic
changes and embellishments. In the
Double^ or earlier form, the variations
left the melody, key, aivi rhythm of the
theme intact, merely embellishing it
with new and growingly elaborate fig-
uration; whereas the modern temacon
variazioni (beginning with Haydu and
Mozart, and fully developed by Beet
hoven) may employ the strongest con-
trasts of rhythm, harmony, and tonality,
the sole limitation being that a memory
so to speak of the theme shall in
one way or another be kept alive
throughout.
Varia'to (It), Van* (Fr.) Varied...
Air van/, Mme van/, same as tema
con variazoni.
Varsovienne(Fr.; It Varsoviatna.} A
dance in moderate tempo and 3-4 time,
with auflaktoi a quarter-note, the down-
beat of every second measure being
strongly marked ; presumably invented
in France about 1853, as a variant of
the Polish polka, mazurka, andredowa.
Vaudeville (Fr.) Originally, a popular
convivial or satirical street-song, or song
sung about town ; by the introduction
of such verses into light plays and
operas the way was paved for the mod-
ern vaudeville, a light comedy, often a
parody, in which dialogue ao panto-
mime alternate with witty and satirical
couplets generally set to well-known
popular airs.
Veemen'te (It) Vehement, passionate.
. . Veemen'zdi con, with veheraen'ce,
passion,
Veil. In singing, an obscuration of tone,
either natural or superinduced by out-
ward causes, detracting from clear and
belWike vocalization. A veiled voice is
called in It. vo'ce vela'ta, in Fr. voix
sombrte or votl/e.
Vela'to (It,) Veiled (see Veil).
Velluta'to (It) Velvety.
Velo'ce (It.) Rapid, swift ; usually ap-
plied to a passage to be performed more
swiftly than those before and after, thus
being the opposite of ritenuto. . . Veloce-
mente, rapidly, , , V clods simamen'te^
velods'simo, with extreme swiftness,
presto. . .Vehdtbf, velocity.
Ventage. (Ger, Tonfloch.) In wind-
instns having finger-holes or keys, any
hole to be stopped by a finger or-key.
Vetrtil. i. Valve. 2. In the organ,
a cut-off or shutter within the wind-
trunk, for shutting the wind off from, or
admitting it to, certain stops or partial
organs ; often controlled by a draw-
stop or pedal... Ventil'horn (Ger.),
valve-horn; Ventil' kornett, cornet k
pistons.
VENUSTO-VIBRATOR.
Venu'sto (It) Graceful, elegant.
Vepres(Fr.) Vespers.
Veran'derungen (Ger.) Variations.
Verbin'dung (Ger.) Binding, tying,
connection ; combination. . . Verbinf-
dungszeichen,) tie.
Verdeckt' (Ger.) Covered, concealed.
Verdop'pelt (Ger.) Doubled. . . Verdof-
pelungi doubling.
Vereng'ung (Ger.) i. See VerMr*-
%ung. 2. Harmonic compression of a
theme by substituting in the imitation a
narrower interval for a wider one.
Vergniigt'<Ger.) Cheerful, cheery,
Vergro'sserung (Ger.) Augmentation
(of a theme).
Verhal'len (Ger.) To die away. . . Ver-
hal'lend, dying away.
Verkeh'rung (Ger.) Inversion (of the
intervals ofa theme); i. e. imitation by
inversion, or by contrary motion,
Verklefneriing (Ger.) Diminution,
Verkiir'zung (Ger.) Diminution i.
Verlang'erungszeichen (Ger./ Dot of
prolongation.
VerlS'scliend (Ger.) Dying away.
Verrain'dert (Ger.) Diminished (of in-
tervals).
Vermit'telungssatz-(Ger.) Episode.
Verrillon (Fr.) An Harmonica 2.
Versdiie'bung (Ger.) Shifting pedal,
soft pedal; mit Versch., unacorda; ohne
Versch.j tre corde.
Ver schwia'dend (Ger.) Vanishing ; dy-
ing away.
Verse. A portion of a service or anthem
sung by solo voices ; opp. to chorus.
. . Verse-anthem, see Anthem. . . Verse-
service, a choral service for solo voices.
Vfurset . (It verseftoj Fr. verset) i.
Same as Versicle.Z, A short prelude
or interlude for the organ.
Verset'zen (Ger.) To transpose. . . V
sefzung, transposition; Versefzungs-
zeichen^ a chromatic sign.
Versicle. In liturgies, a short verse gen-
erally forming, together with its re-
sponse, but one sentence ; e. g.
Vers. Lord, save Thy people,
Rtsp. And bless Thine inheritance.
Ver'so (It.) I. A verse or stanza. 2
- An air or tune.
Verstimraf (Ger.) Out of tune ; out of
humor, depressed,
Verte (Lat.) Turn oven (See Volti.)
Vertical. Lying in one plane (said of
pfte.-strings) ; opp. to overstrung.
Verve (Fr.) Spirit, animation, vigor,
energy.
Verwandt' (Ger.) Related ; verwan'dte
Tonarten, related keys. . . Verwandt? -
schaft) relationship).
Verwech'selung, die tnharmo'nisthe
(Ger,) The enharmonic change.
Verwei'lend (Ger.) Delaying ; ritenuto.
Verziert' (Ger.) Ornamented... Ver-
ziefrungy ornament, grace.
Verzo'gemng (Ger.) Retardation.
Verzwei'flungsvoll (Ger.) Despair,
ing(ly); with desperation.
Vespers. (It. vSspero; Fr. vfores; Ger,
Vesper) "Even-song." The 6th of
the canonical hours.
Vezzo'so (It) Graceful; elegant...
Vezzosamen'te, gracefully, etc.
Vibran x te (It,) With a vibrating, agi-
tated effect of tone.
Vibration. (It vibrazic'nt; Fr. vibra-
tion; Ger. Schwing'un'g.) The rapid
oscillation of any tone-producing J>ody,
as a string, an air-column, the vocal
cords, tte...Amplitude of vibration, the
widest departure of a tone-producing
body, towards either side, from a point
of rest. . .Amplitude of a single vibra^
tion, properly, the departure of the tone-
producing body from the middle point
towards one side only; but frequently
made to comprehend the entire^width
of the excursion from side to side.*.
Double vibration, the excursion of a
tone-producing body (as a string) from
one side to the other and back again., .
Vibration-number, a figure represent-
ing the number of vibrations (usually
estimated by double vibrations) made
by a tone. -:' '
Vibra'to (It) i. On bow-instns, the
wavering effect of tone obtained by the
rapid oscillation of a finger on the
string which it is stopping. 2. In sing-
ing, a tremulous effect, differing from
the tremolo in not fluctuating from the
pitch, partaking of the nature of ^ a
thrill, or series of very rapid partial in-
terruptions of the tone. [Not to be
confounded with Tremolo in either
sense.] The ill-managed vibrato , de-
generates to a trill* caprino (q. v<)
Vibrator. A free reed.
220
VICENDA-VIOLA.
Vicen'da (It) Change. . . VicendJvok,
changeably, vadllatingly.
Vi'de (Lat), Vi'di (It) See...Vi-de, in
scores, a sign that a ' 4 cut " has been
made, directing the performers to skip
from Vi- over to de.
Vide (Fr. t "empty".) Open (said of
strings). . . Corde a vide, open string ;
opp. to eorde a jotter, a string to be
stopped.
Viel (Ger.) Much, great.,. Mitvitkm
Nach'druck, with strong emphasis...
Viel'Mrig, for several choirs or (di-
vided) choruses... Viet f acker Kon f -
trapunkt, polymorphous counterpoint.
. Vid'stimmig, polyphonic.
Vifele (Fr.) A modernized spelling of
weffe*
VieUe(Fr.) Hurdy-gurdy. (Also vie? to.)
Vier (Ger.) Four. . . Vieraeh'teltakt, 4-8
time... Vi&'doppelttr Kon' trapunkt,
quadruple counterpoint. . . Vier*fach,
see/fa*. .. Vier'fUssig, 4-foot.. . Vier*-
giftrichen, see Gf stricken z.^Vier*-
hdndig, for 4 hands . . . Vier*klmg,
chord of the 7th.. . FzV/,?/ (-note),
quarter-note . . . Vier'telpause, quzcter-
xesk.,.Viervier f teltakt, 4-4 time...
Vierzwei'teltakt, 4-2 time.
Vif, *., Vive, fern, (Fr.) Brisk, lively.
Vigorosamen'te (It) With vigor, ener-
gy. . , Vigwo'so, vigorous, energetic.
Vihue'la. Primitive form of the Spanish
guitar.
Villanci'co (Span.) A sacred vocal com-
position resembling the English anthem,
sung in Spain at the principal festivals
of the Church.
Villanel'la (It.) An Italian folk-song
of the 1 6th century, differing from the
artistic madrigal by simple harmoniza-
tion and the more rustic, humorous,
and sometimes loose character of the
poem.
Villarec'cio (It.) Rustic, rural
Vi'na. An ancient stringed instr, of the
Hindus. The body is a section of
bamboo, over which are stretched
lengthwise 4 strings, tuned in the
order dominant, leading-tone, tonic^
subdominant; the 1 8 movable frets can
be adjusted to coincide with any one
- of the Hindu scales. There are also 3
sympathetic strings. Two gourds, fixed
at either end of the bamboo, act, as
resonance-boxes.
Vina'ta (It.; dimin. vinet'ta.) A vintage
song, or drinking-song.
Vi'ol. (It. Mia ; Ger. and Fr.
Name of a very ancient type of bow-
instr., now obsolete ; the prototype of
the violin tribe (but comp. Zmz), from
which it differed by having a fretted
fingerboard, a variable number of strings
(from 5 to 8 or more, though the usual
number s for all sizes was six), and in
the shape of the body. Both belly
(usually) and back (always) were 'flat,
the ribs high, the bouts nearly semi-
circular, the sound-holes like half-cir-
cles, and the upper half of the body
narrow and pointed. The bridge being
but slightly arched, and having to sup-
port so many strings, those in the mid-
dle could scarcely be touched separately
with the bow ; this circumstance, how-
ever, together with the number and
peculiar tuning of the strings, greatly
facilitated chord-playing, in which the
violin is comparatively at a disadvan-
tage. The tuning was as follows :
Viola alta.
Viola tenore.
Viola bassa*
Violone.
viol)
(Alto or Tenor viol) (BassvioL)
8fa lassa. . . .
(Contrabass viol.)
i.e. in fourths with one third midway.^
The viols formerly held, in conjunction
with the lutes, the position in the or-
chestra now occupied by the violin, etc.,
and were not fairly ousted by the latter
till the beginning of the i8th century.
The Bass Viol(i.& in viol-shape, but
with fewer strings) is, indeed, still
found in England, though superseded
elsewhere by the double-bass of violin-
type- The violin first supplanted the
treble viol; gradually the larger violin-
types were invented, with the above-
mentioned result. During the transi-
tion, the frets were gradually discarded.
Vic/la (It.) r. The tenor violin. 2. "A
viol... V, alta, (a) treble viol ; hence
(b) tenor violin (obsolete name)... V.,
bastai'da, an enlarged viola da gamffoi
originally with 6 or 7 stopped Strings^
to which were added kter :an- equal
^number of sympathetic strings stretched
VIOLE-VIOLONCELLO.
221
beneath bridge and fingerboard. . . V.
da brac'cio, ** arm-viol" (hence Ger.
Brcttsehe), a viol held on the arm
while playing ; opp. to v. dagamba. . .
V. da gamba, " leg-viol/' a large viol
held, like the 'cello, between the knees ;
the bass instr. of the viol family. , . V.
d'amo'reffi- violed" amour), a tenor viol
similar to the v. bastarda in stringing
and construction, but of course smaller.
..V. da spalla, " shoulder-viol," a
somewhat enlarged v, da braccio. . . V.
di bardo'ne, see Barytone 2 ... V.pom-
posa (violoncello piccolo), a large kind
of violin inv. by J. S. Bach, midway in
size between a tenor violin and 'cello,
with 5 strings tuned C-G-d-a-e 1 . . . Con-
trabbas*so di vio'la, see Viol.
Vio'le (Ger.) Viol.
Viole (Fr.) Formerly, a viol; now, a
viola... Viole amour, see Viola da-
more.
Violentamen'te (It.) Violently, impet-
uously. . . Violent to , violent
Violet. The viola d*amore. (Sometimes
English Violet.)
Violette (Fr.) Small viola.
Violet'ta (It.) Small viol. . . Ffc&ito
marina, , a bow-instr. inv. by Pietro
Castrucci, soli for which were written
by Handel in Orlando and Sosarme*
Violin'. (Ger. Violi'ne; Fr. violon; It
violi'm.) A 4-stringed bow-instr. of
comparatively modern type (an im-
proved viol*), and the leading orchestral
instr.; constructed in 4 principal sizes
(the so-called string-quartet of the or-
chestra), with the following accordature:
Violin.
Viola.
Violoncello. Double-bass. (written:!
A description of the treble violin, the
typical instr. of the family, will suffice
for all its members. The resonance-
box, or body, is formed by a vaulted
belly (bearing the bridge) and back,
joined by narrow sides called ribs; the
waist is the narrow middle portion be-
tween the incurving bouts, at the corners
of which, and also at other points with-
in the body, are glued triangular pieces
of wood called blocks, to strengthen the
frame. Also inside, just beneath the
treble foot of the bridge, is set a round
wooden prop, the soundpost, placed
there to resist the tension of the strings
and to communicate their vibration di-
rectly to the back ; the bass-bar further
strengthens the belly. The curved
apertures cut in either side of the belly
are the f-holes, or sound-holes. , At the
bass of the body is the button, to which
the wooden tailpiece is attached by a
loop of gut ; from the tailpiece the
strings are stretched across the bridge
and over the fingerboard (which lies
partly upon the neck and partly over
the belly) to the nut, and thence each
to a separate/^ in the peg-box or head,
which ends in the scroll. The word
violin is from the It. violino, a diminu-
tive of viola, meaning literally " small
viol". Violin-music is written in the
(Mef (violin-clef). The strings are
numbered 1234 from highest to low-
est, because the highest string is that
next the bow-hand. (Compare also
Bow, Bowing, Position, Shift.)...
Violin-clef, the -clef . . . Violin-diapa-
son, a diapason-stop of narrow scale
and stringy tone.
Violi r na. A metal flue-stop in the organ,
generally of 4-foot pitch, of small scale
and stringy timbre.
Violinette, i. A kit. 2. Same as
molino piccolo.
Violi'no (It) Violin. .. K di fer>ro,
nail-fiddle. . . V.piScolo, a violin smaller
and tuned a fourth higher than the
ordinary violin. . . V. pompo'so, a violin
with an A Jt . . V. primo (r*-
additional / I !_-). condo), first (sec-
string (c* *T end) violin.
Violin'schliissel (Ger.) tfdef.
Violiste (Fr.; formerly violier.) Viola-
player.
Violon (Fr.) I. Violin. 2. The violin-
diapason (organ-stop).
Violonar (Fr.) Recent name for the
double-bass.
Violonaro (Fr.) Same as Qcto-basse.
Violoncerio (It; Ger. Violoncett '; Fr.
violoncelle.) A 4-stringed bow-instr, of
*A. HADJECKI, in his essay on u The Italian
Lira da braccio," contends very plausibly that
the violin was derived, not from the mol, but
from the lira da braccio.
222
VIOLONE-VOCALIZZARE.
vioiia-type (see Violin), dating in its
present form from the latter half of the
i6th century. The word is a diminu-
tive of violone, the It. augmentative of
viola, thus meaning literally a " little
big viol ". The 'cello, as it is familiarly
called, required more than a century to
become popular, taking at first very
subordinate parts, whence its desig-
nation, in many scores of the iyth
century, as Basso or Bass. It slowly
conquered the esteem of artists, and
supplanted the viola da gamba, like
which it is held, for playing, between
the knees, while firmly supported on
the floor by its pointed/^ or standard.
Violoncello-music is written in 3 clefs
" ^ or convenience of no-
jh
tation, and now invari-
ably according to the
actual pitch ; but the classic masters,
who also frequently used the -clef
in chamber -compositions, wrote the
notes in this clef an octave higher than
they actually sounded. . . Violoncello fit? -
colo, see Viola fomfosa,
Violo'ne (It, " great viol".) i. See
VioL 2. In the organ, a stop on the
pedal, of 1 6-foot pitch and violoncello-
like timbre.
Violoniste (Fr.) Violinist,
Vir'ga. Same as Virgula.
Virgil Practice-Clavier* A toneless
keyboard instr. for mechanical pfte.-
practice, inv. by A 1 . K. Virgil, of New
York, in 1883 (see Techniphone). It
differs essentially from the old dumb
piano in 2 features : (i) The depres-
sion, and also the release, of a digital
produces a mild click like that of a tele-
graph-key ; this furnishes a means for
accurately timing the practice, for
acquiring promptness of down-stroke
and up-stroke, and for determining the
different styles of touch (e. g. for the
Ttrict legato the click on depressing
one digital exactly coincides with the
release-click of the one preceding) ; (2)
it affords, by a simple mechanical ad-
justment, 6 gradations in the weight of
the touch, from 2 to 20 ounces i, e.
from the very lightest pfte.-touch up to
5 times that of the average pfte, -action,
<?r more than the heaviest organ-touch.
Vir'ginaL A small kind of harpsichord :
often written in the plural form as "a
gab of^ virginals *\ signifying merely a
, tingle instr. (Comp. Pianoforte.)
Wgula. One of the Newnes.
Virtues 7 (Ger. ; fern. Virtuo'sin^ I. A
virtuoso. (Fr. virtuose.) 2. Virtuose ;
i. e., possessing or exhibiting the quali-
ties of a finished artist ; also virtuo**
xnhaft. , . Virtwsitaf, virtuosity.
Virttto'so,-a (It.; pi. virtuosi^ A
finished instrumentalist or vocalist.
Vis-a-vis (Fr.) A harpsichord or pfte.
having 2 opposed keyboards, for 2
players.
Vi'sta (It.) Sight ; a (primd) vista, at
(first) sight.
Vi'stamente (It.) Briskly, animatedly.
. . Vi'sto^ lively, animated.
Vite(Fr.) Quick(ly).
Viva'ce (It.) A tempo-mark which, used
alone, calls for a movement equalling
or exceeding allegro in rapidity ; when
used as a qualifying term, it denotes a
spirited, bright, even-toned style...
Vivacemen'te, con vivacez'za, viva-
men'te, con vivadtbf, are terms nearly
synonymous with vivace. . . Vivaeis'-
simo, with extreme vivacity, presto . . .
Vivacet'to, less lively than vivace, about
allegretto.
Vive. See Vif.
Viven'te (It.) Lively, brisk, animated.
Vi'vido, vi'vo (It.) Lively, spirited.
(Vivace.)
Vocal. Pertaining to the voice ; specifi-
cally, proper for the singing-voice. ..
Vocal cords, 2 opposed muscles or liga-
ments in the larynx, whose vibration, due
tc expulsion of air from the lungs, pro-
duces vocal tones , V<v/ glottis (Lat.
rima wcatis), aperture between the v.
cords when approximated for the pro-
duction of tones... Vocal music } music
written for or executed by the voice, as
a solo or with accompaniment.. Vocal
registers, see Voice... Vocal score, se-
duction of orchestral score with voice-
part(s) to piano-score with same,
Vocation. See Reed-organ. -
Vocalisation (Fr.) The art of singing
prolonged and sustained tones on
vowels only. . . Vocal\ser^ to sing ac-
cording to the rules of vocal art, using
only the vowels a and e. . . Vocalises \
vocal exercises or etudes, generally sung
to the vowels, but also, in advanced
etudes, to words.
Vocalizza're, Vocaliz'zi (It) Same
as Vocaliser, Vocalises.
VOCE VOLUNTARY.
933
Vo'ce (It., pL vtid.) Voice ; part. . V.
angelica, vox angelica. . . V. bian'ca
("white voice"), term applied to the
voices of women and children, and to
the tones of certain instr.s of similar
quality. . . K. di ca'mera, a voice of
comparatively slight volume. . . V. di
go'la^ throaty or guttural voice. .. V. di
pet? to, chest-voice. . . V". di ripie'no, a
ripienoTpaxt (see JRipieno) ...V. di te'sta,
head-voice. . . V. grani'ta, a powerful,
round voice. . . V, pasto'sa, a full, soft,
flexible voice. . . V. principally, leading
part... V.spicca'ta, a voice characterized
by clear enunciation . . . A due (ire) voei,
for 2 (3) parts, voices ; in 2 (3) parts. . .
Colla voce, see Col canto... .Messa di
voce, see Messa...Mezza voce t sottovoce,
see Mezza t Sotto.
Vo'ces (Lat) Plural of Vox.
Vo'gelflote,-pfeife (Ger.) A bird-call,
like that played on by Papageno in
The Magic Flute. . . Vo'gelgesang, a
merula, or set of small pipes standing
in water, the passage of the wind
through the latter producing a "war-
bling tone. (Also Vogelsang?)
Voice. (Lat. vox; It. vo'ce; Fr. voix;
Ger. Stim'me, specifically Sing*,
For the several classes of the human
voice comp. Soprano, Mezzo-soprano,
Contralto, Tenor, Barytone, Bass.
The word voice is often made synony-
mous with 4t part", in imitation of for-
eign usage ; the practice cannot be
recommended. . .Vocal registers.
There is hardly any subject on which
opinions are more irreconcilably op-
posed, than this ; but if we accept E.
Behnke's definition (in his treatise:
" Mechanism of the Human Voice") of
the term register 4< a series of tones
which are produced by the same mech-
anism" we arrive at his conclusion ;
namely, that there are 3 principal vocal
registers in the female voice, and 2 in
the male, the chief " break" occurring
in both at . (This is the
1 transition from
" chest" -voice
to falsetto in tenor voices.) The second
principal break in the
female voice occurs
an octave higher at
In bass and bary-
tone voices, the chief
break occurs at
also, there is a break at this point.
(Comp. the above-mentioned treatise.)
the tone \
Voice-part, i. A vocal part [Grove,
II, p. 526^, 1.17; and IV, p. 4oA
1.15 ; E. Prout, * c Harmony", p. 58,
1-7.] 2. A part. [An awkward and
equivocal neologism,]
Voicing. Tuning, or regulating the
pitch and tone of, an organ-pipe.
Voilee(Fr.) Veiled.
Voix (Fr.) Voice ; part. . . V. angfiique,
vox angelica. . . V. ce'leste, an organ-
stop with 2 ranks of the ttnda marts
type. . . V. de poitrine, chest-voice. .. V*
de t&te, head-voice. . . V. humaine, vox
humana. . .A deux (trots) voix, for a
(3) voices ; in 2 (3) parts.
Vokal' (Ger.) Vocal. . . Vokatmusik*
vocal music, with or without accomp. .-.
Vokal'stil, a cappella style ; vocal style.
Volan'te (It., "flying".) Light, swift
Vola'ta (It; Ger. Vola'te\ Fr. Volatim.)
A short vocal run, or trill ; a run, or
division ; a light and rapid series of
notes. . -Dimin. volati'na.
Volks'lied (Ger.) Folk-song. . . VolkJ-
t(k)umlick (Ger.), in a style character,
istic of or imitating that of the (Ger-
man) folk-song, or popular music in
general ; opp. to Kunstlied. A yolks'-
tkumliches Lied is a product of art in the
style of the folk-song... Yolks' ton, im, in
the style having the general character
of a folk-song. (It in mo'dopopola're?)
. . * Yolks' weise, same as Volkslied.
Voll (Ger.) Full . . . ^/^ arches' ter.
full orchestra; vol'ks Wcrk> full or-
gan ; mit vofleni Cko're, with full
chorus.. . Vollgriffig ( 4 'with full hands"),
in full chords or harmonies. .. VolFkom-
men, perfect(ly) . . . Voll r stimmig, (a) in
full harmonies ; () for many parts, poly-
phonous. [ Voll frequently occurs as a
. suffix with the sense of the Engl. -julj
,e- g., gedan'kenvoll, thoughtfully),
stim'mungsvoll, full of (characteristic)
expression ; etc. J
Vorta (It) A turn or time;,.-Pr/w
volta (or Jma volta^ Imet, ./X, /.), first
time; secvnda volta (atllda votta, etc.),
second time ; una volta, once ; due
volte, twice.
Voltegg^anMo (It.) Crossing hands
(on a keyboard); from voltcggia're.
Vol'ti (It.) "Turn over!"...7*AI
srfbito [V. S.], "turn over instantly".
Volubilmen'te (It.) Fluently.
Voluntary. An organ-solo before, dor
ing, or after divine service; also or
224
VOLUTA-WARBLER.
casionally applied to an anthem or
other choral piece opening the service.
Volu'ta (It.), Volute (Fr.) Scroll.
Vom (Ger.) From the. . . Vom An' fang,
J=da capo; vom Blat'te ("from the
page"), at sight
Voraus'nahme (Ger.) Anticipation.
Voi^bereitung (Ger.) Preparation.
VorMersatz (Ger.) First subject or
theme ; fore-phrase [PROUT].
Vor'geiger (Ger.) Leader, ist violin.
Vor'halt (Ger.) Suspension. <. Vo/ halts-
Ipsung, resolution of a suspension.
Vor'her (Ger.) Before, previous(ly).
Vor'ig (Ger.) Preceding, previous ; as
vorlges ZeitmasS) =tempo primo,
Vor'saager (Ger.) Precentor.
Vor'schlag (Ger.) Collective name for
the various forms of the accented ap-
, poggiatura; opp. to Nach'schlag, or
unaccented appoggiatura . . . Lang'er
(ku/zer) Vor*schlagi long (short) ap-
poggiatura.
Vor'setzzeichen (Qer.) Chromatic sign.
Vor'spiel (Ger.) Prelude, introduction ;
overture.
Vortrag (Ger.) Rendering, interpreta-
tion, performance, style, delivery, exe-
cution. . . Vor^tragsbezdchnung, Vor*-
tragszeichen, expression-mark ; tempo-
mark.
Vor'zeichnung (Ger.) Signature.
Vox (Lat., pi. vo'ces; see below). Voice.
. . Vox angelica, (angelic voice), a 4-
foot organ-stop corresponding to the 8-
foot vox huma' no,*.. Vox ~ antecedent
(con'seqwns), the antecedent (conse-
quent) . . . Vox humofna (human voice),
an 8-foot reed-stop in the organ, the
tone of which has a [fancied] resem-
blance to the human voice ; a solo stop,
usually drawn with the tremulant.
Also occurs, especially in Italy, as a
flue-stop, and occasionally in 2 ranks,
one of reed-pipes, the other of flue-
pipes... Vox mrginea, same as Vox
angelica, . . Vo'ces ayua'Ies, equal voices.
. . Vo'ces Areti'nce, the Aretinian syl-
lables... Vo'ces befgicce, the Belgian
solmisation-syllables bo ce di ga lo ma
ni bo,
Vue (Fr.) Sight ; b premier ewe, prima
vista.
Vulga'ris (Lat) In the organ, a flute-
stop, tibia being implied. I
Vuo'to,-a (It.) i. Open, as corda vuota,
open string. a. Empty.
w.
W (as a double V, in Fr. usage). Marks
violin-parts copied from a score.
Waits. [Also Waytes, Wayghtes, etc.]
Originally, a class of street-watchmen
in England, who gave notice of their
approach by sounding horns or other
instr.s. The name then appears to have
been transferred to town-musicians,
and still later to various irregular bands
of indifferent music-makers, in which
latter application it is not yet obsolete.
Whether the instr. chiefly affected by
these musicians (a species of shawm or
oboe) derived its name from them, or *
vice versa, is a moot point.
Wald'flote (Ger., "forest flute " ; Lat
tib'ia silves'tris.) In the .organ, an
open metal flute-stop of broad scale
and usually of 2 or 4-foot pitch, having
a suave, full, resonamVtone.
Wald'horn (Ger.) The French horn
without valves. (Also Jagd* 'horn, Na-
tu^/iorn.)
Waltz. (Ger. Wal'zer; Fr. volte; It
vatzer.) A round dance in 3-4 time,
and in tempo varying from slow to
moderately fast, from the primitive
Landler and ordinary German waltz up
to the sprightlier trois-temps (ordinary
waltz) and deux-temps (rapid waltz).
The steps of these waltzes vary thus :
Slow German
Ordinary Waltz '
(trois temps, '
Wiener Walzer) \
Quick waltz | l L r .
(deux-temps, \ \P f P f
Zweitritt) )*
The origia of the waltz is variously
ascribed to Bohemia, Germany (Land"
ler), and France (volte). . . Waltz is also
the title of numerous effective instru-
mental pieces in triple time, but not
meant for dance-music... Waltz-song,
a song in waltz-rhythm.
Wal'ze (Ger., " roller "). An undulating
figure (see Rolle).
Wafl / kend(Ger.) Wavering, hesitating.
Warbler, On the bagpipe, a term ap-
plied to various forms of melodic em-
bellishment (graces).
, 1. r. 1.
Irrr
r. 1. r.
rrr
1. r. L
5 rc'grc*
r. L
WARME WIRBEL.
225
(Ger.) Warmth ; mit grosser
Warmc, with great warmth.
Was'serorgel (Ger.) Hydraulic organ.
Waste-pallet. See Valve.
Water-organ. Hydraulic organ.
Wayghtes. See Waits,
Weak accent, beat, pulse. See Accent.
Wech'selgesang (Ger.) Antiphonal
(responsive) singing- or song. . . Wech'-
selnote^ changing-note.
Weh'mut(h) (Ger.) Sadness, melan-
choly. . . Weh'milt(Ji)ig^ sad, mournful,
melancholy. (Also adverb^)
Welch (Ger.) i. Soft, tender ; mellow,
suave (also adverb). 2. Minor.
Weight of wind. The tension of the
compressed air supplied by the organ-
bellows to any stop or group of stops ;
the mean pressure raises a column of
water in a U-tube to the height of
about 3 inches, hence the technical ex-
pression "an inch" or "two inches' 1
of wind ; a stop is said to be * ' voiced
on a 3, 6, or lo-inch pressure," etc.
Wei'nend (Ger.) Weeping.
Wei'sse Note (Ger.) A "white," or
open, note.
Weit (Ger.) Broad ; open (of harmonies).
Welle (Ger.) Roller (organ) ... Well-
atu^, system of rollers. . . Wel'lenbrett,
roller-board.
Well-tempered. In equal, and conse-
quently satisfactory, temperament; as
J. S. Bach's Well-tempered Clavichord
(Ger. Wohl'temperirtes Clavier*).
We'nig (Ger.) Little ; ein. klein wenig
lang'samer^ a very little slower.
Werk (Ger.) In the organ, (a) the set
of stops controlled by one keyboard ;
(b) a stop or register.
Wert(h) (Ger.) Value, time-value.
We'sentlich (Ger.) Essential. . . We>-
'sentliche Dissonanz'^ a dissonant chord-
tone, in contradistinction to a disso-
nance produced by a passing or chang-
ing-note.
Wet'terharfe (Ger.) ^Eolian harp.
Whistle. The smallest and most prim-
itive type of instr. with a flageolet or
" flue-pipe mouthpiece. Comp. Picco-
pipe.
White keys. The continuous lower row
of digitals on a keyboard ; formerly
they were black, the now black keys.
then generally being white . . . While
note^ one having an open (not solid)
^ad (^ J).
Whole note. See Note. . . Whole shift,
see Shift. . . Whole step, (a) a step of a
whole tone ; (b) a whole tone . . . Whole
tone (Ger. Ganz'ton ; Fr. ton plein y
It. tonff inter c), see Footnote, p. 103.
Wie (Ger.) As. . . Wie o'ben, as above ;
vote voSher^ as before, as at first ; wie
aus der Fer'ne, as from a distance.
Wie'der (Ger.) Again. . . Wie'dergabe,
performance, production, rendering, in-
terpretation, reading. . . Wiederher* 'stel-
lungszeichen^ see Auf ' losungszeichen.
. .Wiederho'lung, repetition ; W.s-
zeichen^ repeat.
Wiegenlied (Ger.) Cradle-song, lulla-
by; berceuse.
Wind-band. I. A company of per-
formers on wind-instr.s. 2. The wind-
instr.s in the orchestra ; also, the per-
formers on, or parts written for, the
same. . . Windchesi, see Organ . . . Wind-
gauge, an apparatus for measuring the
wind-pressure in the windchest of an
organ. It consists of a twice-bent glass
tube, having water in the U-shaped
end, the other end being fixed in a
socket ; on setting the socket in a hole
in the soundboard, and letting the wind
on, the water rises in the outer arm of
the U-shaped tube, indicating the wind-
pressure by the height in inches to
which it is forced. (Comp. Weight.)
. . . Wind-instruments (Ger. &lasfin-
strumentej Fr. instruments & ventj It.
stromen'ti da fia'to), instruments, the
tones of which are produced by wind
(i. e. compressed air), the vibrations
excited in the latter being transmitted
to an air-column enclosed in a tube (e. g.
an organ-pipe, or any orchestral instru-
ment blown by the mouth), or directly
to the open air (e. g. free reeds without
tubes). "The vibrations of the wind are
excited (a) by its impinging on a sharp
edge (flageolet, flute, organ-pipe), (b) by
the interposition of a vibratile reed (cla"
rinet, oboe, reed-pipe), or (c) by the
v vibration of the player's lips (horn,
trumpet, trombone). (Comp. art. In-
struments.). . . Windtrunk) see Organ*
Windharf e (Ger.) ^Eolian harp... Wind'-
kasten, windchest. .. Wind'lade^ sound*
board (organ) . . . Wind*wage\ wind-
gauge.
Wirtel (Ger.) j. Peg; T
226
WOHLTE41PERIRT-ZARZUELA.
peg-box* 2. Roll (on a drum). 3.
Same as Schl'dgel, the more usual term.
Wohl'temperirt (Ger.) See Wdl-tem-
fered.
Wolf. > i. A discord induced in certain
keys, on keyboard instr.s (especially
flie organ), by inequality of tempera-
ment, such as was inherent in the so-
called "meantone" system. (Not sy-
nonymous with the Ger, Or'gelwolf.)
2. In bow-instr.s, the wolf is the im-
perfect or jarring vibration of some
particular tone or tones, and is pre-
sumably due to some defect in the
build or adjustment of the instrument.
Wolf (Gen) Wolf; specifically, the I2th
fifth in the circle of fifths, being the
one which causes the main difficulty.
Wood-wind. The orchestral wood-in-
str.s collectively ; or the performers on
them.
Working-out. Same as Development.
Wrest. A tuning-hammer.
Wrestblock, Wrestplank. See Piano-
forte.
Wuch'tig (Ger.) Weighty, weightily,
ponderous(ly), with strong emphasis,
risoluto*
WttVde (Ger.) Dignity ; mit W., or wilr*-
devoll, dignified.
Wfi'thend (Ger.) Furious, frantic ; /-
X.
Xanor'phica, (Gen X&no/pUka^ A
variety of the piano-violin, and the
most complicated of all, there being a
separate bow for each string; inv, by
K. L. Rflffig of Vienna in 1797.
Xylharmon'ica. (Ger. XylharmSnikon).
A keyboard instn inv. by Utho of San-
gerhausen in 1810, and resembling
Chladni's Euphonium, but with wooden
wands instead of glass rods ; an im-
proved Xylosistron.
Xylophone. (Lat li/neum psalie'ri-
. urn; Gen Strok'Jiedel, Hottharmo-
nika, Hold- und Sir oh' instrument,
-Ml' terms Gelfah'ter; Fn claquebois,
Ichelette^patoidUe^ xylorganon; l&^gige-
li'ra, sticcafdo^ A very ancient and
widely disseminated instr. (Europe,
Africa, America), consisting of a diaton-
Ically graduated series of fiat wooden
bars adjusted horizontally upon 2 cords
(which are sometimes made of twisted
straw), and played on with 2 mallets ;
a wooden dulcimer? capable of pleasing
effects in the hands of a skilful player.
Usual compass 2 octaves, or a little
more.
Xylosis'tron. The parent instrument
of the xylharmonikon ; inv. by Utho in
1807.
Y.
Yang Kin (Chinese.) A Chinese instr.
resembling the dulcimer, with brass
strings,
Yodel, Yodler. English spellings of
^ jodkr*
z.
Za. Former syllable-name for J5fy t in
solmisation.
Zahlen(Ger.) To count; z&hle^ count...
Z&hlzeit, a count.
Zale'o. See/fl/^.
Zampo'gna (It.) i. Bagpipe. 2.
Shawm.
ZapateaMo (Span.) A Spanish dance,
in which the dancers mark the rhythm
by stamping.
Zap'fenstreich (Ger.) The tattoo. The
grosser Zapfenstreich is an imposing
mus. finale of a military review, com-
mencing with a grand crescendo roll on
the drums of the combined regimental
bands. The Z. was originally a blow
(StreicJi) struck on the bung (Zapfen)
of the cask of beer or wine, signifying
that drinking in camp must cease for
the night; hence, a musical signal to
drive the bung into the bung-hole, to
attain that end.
Zaraban'da (Span.) Saraband.
Zar'gea (Ger., pi.) Ribs.
Zart (Gen) Tender, soft, delicate ; slen-
der. . .Mit tar* ten Stim'men, with soft-
toned stops. ..Zarffiote y in the organ,
a 4-foot flute-stop of very delicate in-
tonation, the pipes having, instead of
the block, a windway reaching up from
the foot, and directed against the upper
lip,
Zart'Hch (Gen) Tender(ly), caressing(ly).
Zarzue'la (Span.) A two-act drama with
incidental music, resembling a vaude-
ville ; so called because first performed
in the royal castle of Zarzuela, in the
1 7th century.
ZEFFIROSO-ZOPPCX
227
Zeffiro'so (It.) Zephyr-like.
Zei'chen (Ger.) A sign.
Zeit (Ger.) Time. Also, same as Takt-
teil. . . Zeifmass, tempo ; im ersten (or
voSigen) Zeitmass, = tempo primo. . .
Zeilfmesser, metronome. ..Zeitfwert(h\
time- value.
Zelosamen'te (It/) Zealously, enthu-
siastically. . .Zelo so, zealous, enthusias-
tic, ardent; marking passages to be
performed with energy and fire. Also
con ze*lo.
Zerstreut' (Ger.) Dispersed, open.
Zieh'harmonika (Ger.) Accordion.
Ziem'lich (Ger.) Somewhat, rather.
Zier'lich (Ger.) Neat, delicate ; grace-
ful, elegant. (Also adverb.)
Zif'fer(Ger.) Figure...^m/'/^, figured;
Bezifferung, figuring.
Zigeu'nerartig (Ger.) GJrpsy-like...
Zigeu'nermtisik, Gypsy music.
Zim'balon. An improved dulcimer much
employed in Hungarian music, provided
with dampers, >g Pro-
and having a /^v Jr\ l? n a -
chromatic scale S J/tu) ' ' tion of
of 4 octaves : -+" J a tone
is obtained by its rapid reiteration,
marked f?.
Zim'belstern (Ger.) A sort of toy-stop
in. some old organs, consisting of a
star hung with little bells, placed con-
spicuously in front of the organ, and
caused to sound by a current of air
controlled by a draw-stop.
Zingare'sca (It.) A Gypsy song or dance;
specifically, a song sung by maskers
during the Carnival.
Zingare'sco,-a (It.) Pertaining to Gyp-
sies, Gypsy-like,. .ZingarSse, alia, in
Gypsy style... Zi'ngaro^a^ a Gypsy;
alia zi'ngara, in Gypsy style.
Zin'ke (Ger.; It. cornet to). (Also Zink,
Zinken.) See Cornetto.
(Ger.) Circle... Zir*kelkanon,
infinite canon.
Zither (Ger., pron. tsifter; EngL pro.
nun. xith'er) [The Ger. Zither is a very-
different instr. from the old EngL cither
or cittern; to prevent confusion, it
would be well to adopt the Ger. spelling
for the modem instr.] i. (Scklag zither,
i. e. plucked zitker.) The zither, as
developed from the primitive peasant-
instr. of the German Alps, has 32 or
more strings stretched over a shallow
wooden resonance-box, which is pro-
vided with a soundhole, and bears a
bridge near the right end and a fretted
fingerboard on the side next the player.
Above the fingerboard are 5 melody-
strings stopped by the left hand, tuned
| . fefr ( ^= the 2 A** be-
> J Eff | 5E; ing steel, the D
* . brass, the G
steel silver-covered, and the C brass
copper-covered. These 5 are plucked
with a metal or tortoise-shell ring worn
on the right thumb and having a pro-
jecting spur. The accompaniment- .
strings, tuned in fourths as follows :
are plucked by the fore-, middle, and
ring-fingers of the right hand, the lit-
tle finger resting behind the bridge to
steady the hand. They are of gut, or
covered silk, variously colored to guide
the player's eye and fingers. The 3
ordinary sizes of zither are the Treble
Zither (Prim' zither}, Concert-Zither,
and ElegiS-Zither (also called -4//-or
Liederzither, and tuned a fourth be-
low the ?rim- and Concertzither).
2. (Streich'zither-i i. e. Bow-zither^
The earlier bow-zithers were heart-
shaped ; of the newer ones, the Viola-
Zither has the form of a viola,
while the Philomele has a more pointed
body and shallower bouts; they are
varieties of the viol, with short neck, i
fretted fingerboard, and 4 strings in
violin-tuning, the E and A of steel,
the D of brass, and the G of silk silver-
covered; but the bow-zither is held
quite differently from the viol, its head
being furnished with a little foot which
rests on the edge of the table before the
player, who holds the body in his lap.
Zifternd (Ger.) Trembling, tremulous.
Zo'gernd (Ger,) Hesitating, lingering,
retarding.
Zolfa'at) Sol-fa.
Zop'pOj-a (It.) " Halting, limping V-
Alia zoppa, syncopated ; as the rhythm
4J J JIJ J j; also applied^
Magyar music with the rhythm :
228
ZOULOU ZWflLF.
Zoulou (Fr., "Zulu".) A, style of pia-
nette.
Zu'fallig (Gen)
falliges Versef&ungszeichen, accidental.
Zuf'folo (It.) A small flageolet, such as
is employed in training singing-birds.
(Also Zu'folo.)
Zug (Gen) I. Same as Regis' terzug. 2.
A pedal (pfte.) 3. A slide (of a trom-
bone, etc.). . .Zttjftrompetti slide-trump-
et... Z^zew^, tracker-action (in the
organ).
Zulcunftsmusik (Ger.) Music of the
future ; a term first used (according to
R. Wagner) about 1850, by Dr. L. Fr.
Chr. Bischoff, in a satire on Wagner's
essay upon " The Art-work of the
Future" [Das Kunstwerk der Zu-
kunft]. The word has been adopted,
by enthusiastic disciples of the neo-
Gennan cult, as an epithet of distinc-
tion, with the meaning " music with a
future " a definition whose correctness
can hardly be successfully disputed.
Zu'nehmend (Ger.) Increasing, cre-
scendo.
Zung'e (Ger., "tongue"). Reed...
Zung'enpfeife, reed-pipe , * . Zung f en-
stimme, reed-stop. . . Zungmwerk, ' c the
reeds/* reed-stops of the organ, con-
sidered collectively . . . A ufschlagende
Zwtge^ beating reed; durch' schlagende
Zunge, free reed. . .Dop'pelzunge^ etc.,
see Tonguing.
Zurtick'halteii (Ger.) To retard . . . 2u-
rucKhatiendt ritardando . . . Zur&ctf-
haltung, retardation . . . Zurftctfschlag,
same as Ribattufta.
Zusam'men (Ger.) Together, simultane-
ous(ly); bei'de Cho're zusammen^ both
etc.
choruses (choirs) 'together. ..
menklang. a sounding together, simul-
taneous sounding of 2 or more tones ;
a "solid" chord. ..Zttsam'mengesetzt,
combined, compound; zusam'menge*
setzte Taktart, compound time...
Zusam'mtnschlag^ acciaccatura . . . Zu.
sam'menspiel, plajring together; en
semble-playing. . .Zusam'menstreichen,
to slur (either by means of the sign
called a slur, or by joining the hooks of
hooked notes); Zusam'menstreichung^
slurring.
Zwei (Ger.) Tm...Zwei'cMrig, for 2
choruses (or divided chorus) ... Zwei'-
fach, (a) double, as counterpoint ; (b)
in 2 ranks, as organ-stops ; (c) com*
pound, as intervals. .Zwei'f&ssig,
2-foot. . . Zwei'gesang, a duet. . . Zwef*
gestrichen, see Gestri'chen.. t Zwei'~
halbe Takt, 2-2 t\m&.. .Zwei'handig,
for 2 hands... Zwei'stimmig, for 2
voices; in or for 2 parts... Zwei'fel
(-note), a half-note... Zwei'tritt, see
Waltz. ..Zwei-unddm'ssigstel(-note\ a
32nd-npte. . .Ztveivier'teltakt, 2-4 time.
..Zwei'zahliger Takt, duple time...
Zwdzwei'teltakt, 2-2 time.
Zwerch'flote, Zwerch'pfeiff (Ger.)
The cross-flute, or German flute.
Zwisch'en (Ger.) Between, intermedi-
ate ... Zwisch'enakt, an entr'acte ;
Zwisch'enaktsmusik, act-tune(s). . .
Zwisck'enharmonit, see Zwisch'ensatz.
..Zwsch'enraum, space... Zwsch'en-
satZ) episode... Zivtsch' enspiel^ inter-
lude, intermezzo.
Zwit'scherharfe (Ger.) See Spitz* harfe.
Zw51f (Ger.) Twelve... Zwolfah'tel
takt, 12-8 tiB&...Zwolf$aitef t see
Bissex.
APPEND IX
OF
ADDITIONS AND CORRECTIONS
APPENDIX.
(An asterisk * refers to an earlier article in body of Dictionary.)
A.
Abbandoisan'dosi (It.) Yielding wholly
to emotion } with a burst of passion.
Abbandona're (It.) To leave, to quit ;
senfza abbandowtre la co/da % without
quitting the string.
^Abbreviations. Add to former list :
c.f. Canto fermo ; cantus firmus.
Div. Divisi, divise.
incalz. Incalzando.
Mov to . Movimento.
ow. Owero.
po* poco.
A'bendunterhaltuflg (Ger.) Pupils' con-
cert (in a music-school ; given for en-
semble-practice or quasi public per-
formance). (Also ubungsabend^
Ab'langen [eines Tones] (Ger.) Taking
[a tone] by extension (in violin-tech-
nic).
Ab'schleifer (Ger.) Staccato-dash (I I).
Accenta'te (It; plural form otacctnta'ta,
"le note" being implied.) i. Ac-
cented, marked 2 (imperative, pi.).
Accent! Emphasize!
Accentuate (It) To accent. . .Accentu-
an'do y accenting.,. Acctntwtto^ ac-
cented.
Accessit (Fr.) Honorable mention.
Accord'zither (Ger.) See Ziiherharfe.
jEo'lian. A reed-organ of the American
type, the air being drawn through the
reeds. It has a keyboard, and may be
played like an ordinary organ ; buHts
distinguishing feature is a mechanica
arrangement for executing music with-
out using the keyboard. Motive-power
and wind are supplied by two pedals
(treadles) worked by the feet ; the time-
value of the notes is controlled by per-
forations in a gradually unrolling sheet
of paper, the music-roll ; the tempo is
regulated by a stop called the Motor,
and the expression is regulated (a) bj
the pedal-movement, (b) by two knee
swells, and (c) by the registration. In
the largest instr.s there are ten speaking
stops, and a Tremolo. The JBolian
is remarkable, not merely for extreme
technical precision, but for the great
variety and artistic finish of musical ef-
fects, both tempo and expression being
wholly at the player's command, The
"jEoKan" and the keyboard (which has
4 independent stops) may also be played
together, the keyboard being used to
play an accompaniment to the &olian.
The instr., which is the product of long
evolution, became known under its pres-
ent name about the year 1883, in New
York. Its repertory includes all classes
of music, and at present (1900) com-
prises about 20,000 numbers. It has a
scale of 58 semitones (the keyboard has
6 octaves) ; and all its music-rolls also
fit the Pianola (j.0.).
Affretta're (It) To hasten, to accelerate.
, , Sensa affrettare, without hastening.
A fior' di laVbra (It; Fr. au bout des
Ifares; Ger. gekaucht) Very lightly
and softly sung or spoken.
Aggiim'to,-a (It) Added, interpolated.
. . .Arie aggiunte (pi.), airs interpolated
in an opera, etc., to which they did not
originally belong.
Air coupg (Fr.) An air of set form.
Album-leaf: (^r.Albumblatt;^r.Feui^
let d' album; It Pagtoa a" album)
Title of a short and (usually) simple
vocal or Snstr.l piece.
Alexandrine verse. " An iambic hex-
apody, or series of six iambic feet-
French Alexandrines are written ia
couplets, alternately acalectic with mas-
culine rimes and hypercatalectic with
feminine rimes. . .The cesura occurs at
the end of the third foot The second
line of the following extract is an ex-
ample :
* A needless Alexandrine ends the son$,
That, like a wounded snake, drags its slow
length along.MPope,)"
[THE CENTURY DICT.J
Allarga'te (It. ; imperative.) Slower and
broader.
Amu'sia. Loss of the musical faculty.
[BRITISH MEDICAL JOURNAL, Dec. 22,
1894.]
ANCORA PIANO-BASSHORN.
Anco'ra pia'no (It) Still [sing or play
softly; equiv. to sempre piano.
Andan'do (It) Same as Andante.
An'denken (Ger.) Recollection, souvenir
*A'nima (It) 3. Core (of a covere
string).
A par'te (It.) Aside ; e.g., sottwoce
*Aper / to,-a (It.) Open (of organ-pipes
Appe'aa(It) Hardly, very little; ap
fena animando, a very little faster ; ap
pena meno> a trifle slower.
Appoggiamen'to (It.) Chin-rest
Appuyer(Fr.) To sustain.
A quat'tro parti (sole) (It) For fou
(solo) parts.
Arched viali. [Bow-viol?] Pepys' Diary
(Oct 5, 1664) describes this instr, as
"being tuned with lute strings ane
played on with keys like an organ ; a
piece of parchment is always kept mov-
ing, and the strings, which by the keys
are always pressed down upon it, are
grated in imitation of a bow, by the
parchment ; and so it is intended to re-
semble several vialls played on with one
bow, but so basely and so harshly that
. it will never do. But after 3 hours' stay
it could not be fixed in tune, and so
they were fain to go to some other
musique of instruments/'
Arcichitar'ra (It) A modern Chitar*
rent.
Ardo're,con (It) With ardor, warmth.
*A'ria (It) Aria d*tntm'ta, the first air
allotted to a leading singer (in opera)
on entering the stage. . .Aria di sorti'.
ta, an air, at the conclusion of which
the singer makes his exit. [The Sor-
tita is, however, also the name for the
first number sung by any of the leading
characters in an opera], . .Arieaggiun -
/*, see Aggiunto. ..Aria also signifies
wind (in the organ, etc.).
*Aiiet'ta alia venezia'na (It.) Little
air in "Venetian'' style; i.e., a bar-
carola.
Arietti'na (It) A brief or.trifling ari-
etta.
Armag'gio (di corde) (It.) Set of strings.
(Also MonUttura.)
Ascenden'te (It) Ascending.
Aspirant 7 (Ger.) A young musician in
an orchestra, on half-pay, *' aspiring"
to full membership.
A'spro,-a (It.) Harsh, rough.
Assie'me (It) Same as Ensemble. ,.
Pezxo (Tassieme, a concerted piece.
Astuc'cio (It.) Music-roll, music-case.
Anda'cia, con (It) With boldness.
Aufhebungszeichen (Ger.) The " can.
eel "or natural (!]).
Auf'legestiramen (Ger.) The separate
parts of an orch.l composition, to be
" laid on " the music-desks.
Aufloser (Ger.) The "cancel" or natu-
ral ft).
Auf / schwingend(Ger.) Soaring(ly), im.
petuous(ly) ; con impeto.
Aufschwung (Ger.) Lofty flight, soar-
ing impetuosity ; mit A., in a- lofty, im-
petuous, impassioned style.
Aus'gefuhrter Choral 7 (Ger.) A " worked
out " choral ; a choral with free counter,
point ; or, with contrapuntal working-
out ; or, contrapuntally worked out (de-
veloped).
Aus'stattungsstuck (Gen) Spectacle,
spectacular play or opera,
Autoar'pa Wagner (It; "" Wagner Au-
toharp.") An improved autoharp (Ak-
kordzither] inv. 1896 by E. Glasel of
Markneukirchen, the mechanism of
which permits playing in any of the
ordinary keys.
Autre (Fr.) Other ; another, different
Avec ame (Fr,) Same as con anima.
Vvec le chant (Fr.) Same as col canto.
A volontg (Fr.) Same as apiacere.
B.
Jabillage (Fr.) Babbling, chatter.
Sadinerie (Fr.) Same as Badinage.
Bagatetta (It) Bagatelle.
Baglio'ra (It.) Flash of light ; title for
a swift, light and piquant composition.
BalanceHa (It.; Fr. balancelle) A piece
of music imitating the easy rocking of a
sailboat.
Jaldamen'te (It) Boldly.
Ballabi'le (It) 2. Ballet-music.
JallateHa (It) A short ballad.
BassaneHo (It.) i. An obsolete wood-
wind instr. allied to the bassoon, with
double-reed in a conical mouthpiece
carried by an S-shaped crook. 2. A
4-foot or 8-foot reed-stop in old organs.
Bass x horn (Ger.) A wood-wind instr.
BASSIST-CAPOPHONE.
333
inv. by Frichot in 1804, and already ob-
1 solete, allied to the Serpent, but with
a brass bell, and a cupped mouthpiece
on an S-crook. Compass 4 octaves (C
to* 8 ).
Bassist" (Ger.) Bass singer.
*Bas'so (It.) 3. An 8-foot pedal-stop
on the organ.
Basso'ne (a lingua) (It.) A i6-foot
reed-stop on the swell-organ.
*Bassoon (compass). The A \ below B^
is occasionally used (Raff).
Bavardage (Fr.) Chatter, tittle-tattle.
Bel canto (It.) The art of beautiful-
song, as exemplified by the finest Italian
singers of the i8th and igth centuries,
and their pupils or imitators. The term
is used especially in contradistinction to
the "declamatory" style of dramatic
vocalism brought into such prominence
by Wagner.
Bien chante" (Fr.) Same as molto can-
labile.
Biril'lo (It.) Peg. ,
Block (verb). A hammer in the piano-
forte-action "blocks" when it remains
against the string after impact, instead
of recoiling, thus "blocking" (deaden-
ing) the tone.
Blueite (Fr.; "spark," "flying spark-
let.") I. A light, playful comedietta.
2. Hence, a light, sparkling piano-
piece of no fixed form.
Botto'ne (da cordie'ra) (It.) Button
(on the violin).
Bouts [pi.]. The incurvations. on either
side of instr.s of the violin-type, form-
ing the "waist."
^Bridge. A violin-bridge with 4 feet has
been inv. (1894) by Edwin Bonn, of
Brading, Isle of Wight ; one foot under
each string.
Brise", le (Fr,) In violin-technic, short,
detached strokes of the bow.
Budello (It.) Gut. (Also minugia.)
Bu'co (It.; pi. MM.) Finger-hole (of
a mus. instr.).
Biih'ne (Ger.) S>.*.B&krnenmw
(a) dramatic music ; () music played on
the stage.
Bun'te Rei'he (Ger,) The phrase means,
literally, the alternation, in a company
seated at table, of a lady with a gen-
tleman ; hence, as a mus. title, a series
of contrasted cnaracteristic pieces.
C.
C. In recent Italian music " I C." and
" 3 C." are abbreviations of tl una cor*
da " and " ire corde" respectively.
Cade're (It.) To fall. Cadenza (ca-
dence) means literally a "falling back"
to the tonic from the dominant ; Beet-
hoven uses the word jocularly, in the
phrase " Cadenza ma senza tadere"
(heading his Cadenza No. I to the rst
movem. of the G-major Pfte.-Concerto),
which may be translated: "<FalI back,
but don't fall down. 1 '
Cahier (Fr.) Book.
Caraor'ra (It.) Paid claqueurs in Italian
theatres.
Campagnuo'lo,-a (It) Pastoral, idyl*
lie; rustic.
Campes'tre (It.) Pastoral^rural, idyllic j
as danza campestre.
Cano'nico,-a (It.) In canon-form.
Canticchian'do (It.; Fr. en fredonnant^
Trilling, warbling ; humming.
*Canti'no (It.) ^-string. (In mercan-
tile Italian the strings of the violin are
named cantino^ seconda^ terza and
quarta) 4
*Canto, written in a score over the blank
part for any instr., means that the latter
is to play in unison with the vocal (or
melody-bearing) part. Written over an
instr.I part, it signifies that at that point
the vocal melody -reenters after a
ritournette or interlude.
Capo-ban 7 da (militare; (It.) Band-
master.
Capoco'micOj-a (It,) See Striese.
*Capo d'astro. [An English corruption
of capotaslo.] In the pianoforte, the
"capo d'astro bar" is a transverse
metallic bar placed above the strings
near the wrestplank. Its name is
derived from the fact that it bears down
on the strings of the three highest
octaves (more or less), and is supposed
to add to the brilliancy and carrying-
power of their tone. It is, however,
not removable, like^a real capotasto, but
fixed.
Capo-mu'sica (It) Conductor ; band-
master.
Capo-orchestra (It.) Conductor of an
orchestra.
Capophone. A set of musical glasses
inv. by M. F. Coelho, on which he
produced remarkable effects.
*34
CARATTERISTICO-CORTO.
Caratteris'tico,-a (It.) Characteristic.
. .Pezzo caratteristico, characteristic
piece.
Cas'sa (It) Body (of violin, etc.).
*Catch. (It. caSce, from cac'da,
chase.) The term occurs as early as
the I4th century, in a composition by
Fr. Landino. [Cf. AMBROS, "Ge-
schichte der Musik," vol. iii, p. 470.]
Causerie (Fr.) Chat, conversation.
Cavi'glia (It.) Peg.
Cello'ne. A bow-instr. intended to
replace the 'cello (in conjunction with
the Violotta [^. z/.]) in the string-quar-
tet In dimensions it resembles the
'cello, but the accordatura is a fourth
lower, namely, Gi~D-A-e. Tone like
that of the 'cello (though stronger),
being far more prompt in speaking,
flexible and mellow than that of the
double-bass.
Cer / to,-a (It.) Certain ; con una certa
esprcssione parlante [Beethoven], with
a certain declamatory expression.
Ce'tra ad acco^di (It.) Autoharp.
Champetre (Fr.) Same as Campestre.
Charrae, avec (Fr.) With charm, grace-
fully (It. vezzosamente).
Chin-rest. " An oval plate of ebony,
slightly hollowed on its upper surface
to receive the curve of the jaw, fastened
to the edge of the violin to the left of
the tailpiece, and extending over, but
not touching, the belly," [KREHBIEL.]
Chitarra'ta (It) Piano-piece imitative
of the guitar.
Chord of Nature. The series of har-
monics sounding with a generator. (See
Acoustics.)
Chord-bar. One of the bars crossing
the strings of the autoharp ; being
pressed down, it allows only the strings
of one special chord to vibrate. (Ger.
Pedal)
Clavi-harpe (Fr.) A harp played by a
pianoforte-keyboard ; inv. by Dietz of
Brussels in 1887, and used with good
effect in the orch. of the Monnaie
Theatre there in 1888.
*Clef. The follow-
ing is a form
tenor-clef now
,(1896) used in
Italy. [From the
Milan u Gazzetta^
Musicale", Dec. Tenon
I7 1896.]
Colori'to (It) Same as Colorit.
*Col / pO (It) Stroke; e. g. t colpo di
eampanel'lo^ stroke of a bell.
*Co'me pri'ma (It.) Standing alone, as
a tempo-mark, it means that the pre-
vious tempo is to be resumed (after -a
digression) ; also written tornando come
prima...Ritenuto come prima % held
back (retarded) as before.
Co'me re'tro (It.) As before,
Composed-through. A frequent trans-
lation of the German term durchkompo*
niert (see Durchkomponiereri), the cor-
rect English equivalent for which is
4 * progressively composed," as con-
trasted with "strophic composition"
(see Song 2).
Comprima'rio,-a (It.) In theatrical par-
lance, a part (role) of importance,
though not one of the leading parts
(prime assolute).
Concentran'do (It) " Concentrating ";
an expression-mark in vocal music,
calling for a dark, veiled, intense effect
of tone.
*Concerti'sta (It) 2. Concert-giver.
Confetti (It.) Sugarplums.
Confinal. Compare Final.
Conical mouthpiece. See Cupped.
*Contrab(b)as'so (It.) Sub-bass (organ-
stop).
Corde fU6e (Fr.) Covered string.
Cordie'ra (It.) Tailpiece.
Cordo'metro (It.) String-gauge.
Cordonophon. A keyboard-instr. imitat-
ing the tones of bells ; inv. Paris, 1890.
The tone is produced by hammers strik-
ing on a graduated 2-octave series ,of
hollow bronze cylinders.
Cpri / sta (It.) Chorus-singer. . . C. capo-
fila y a chorus-leader ; especially one to
whom a minor solo part is entrusted
(see Pertichino).
Cornement (Fr.) Running (of wind ip
an organ).
*Cornet & pistons. Even in the sym.
phony-orchestra the cornet is not infre-
quently used ; but its employment as a
substitute for the valve-trumpet is to be
condemned, these instr.s being too dis-
similar in tone.
Cornet'ta (It.) Cornet a pistons. . . Cor-
netti'w, a small cornet.
Short. "Lacadenta sfa
COUL-ESC L AMATO,
corta " [Beethoven], the cadenza should
be short.
*Coule~ (Fr.) 3. A slur.
Counting. When a part "rests" for
several measures, precision of reen-
trance is facilitated by counting
thus: 123,223,323,423,523.
Coupure(Fr.) A "cut".
Cravat'tentenor" (Ger.) A tenor who
sings as if his necktie were too tight
Cupped mouthpiece. The shallower
form of mouthpiece for brass wind-
instr.s (Ger. kes'selformiges Mund'-
stilck), in contradistinction to <c conical
mouthpiece," the deeper form (Ger.
trick' terformiges Mund'sWck).
D.
Decimaquin'ta (It.) i. Interval of a
fifteenth. 2. The Fifteenth (organ-
stop).
Declama'to,-a (It) Declaimed ; in de-
clamatory style.
Deliran'te (It.) Raving ; frenziedly.
*Demi-jeu (Fr.) In violin-technic, the
persistent employment of short strokes
of the bow.
Dichiarazio'ne (It.) Declaration (title
of a composition).
Discenden'te (It) Descending.
Discretez'za, con (It) With discretion ;
discreetly, cautiously.
Dispa'ri (It.) Unequal (voices) ; triple
(times).
Divagazio'ne (It) A ramble, excursion ;
rambling, strolling.
Divette(Fr. ; diminutive of diva) Lead-
ing lady in operetta.
Divi'se. This (the fern, pi) form is
properly applied to instr.s of the femi-
nine gender (in Italian), such as tromba ;
also to vocal parts (voci divise) ; it may
likewise be expressed by numerals, e. g.
Dodinette, Dodino, Dodo (Fr.) Lul-
laby.
Do'rico (It.) Doric, Dorian.
Dugazon (Fr. ; Ger. erste Liebhaberin)
French designation for the leading so-
prano in comedy-opera, operetta, etc, ;
named after Louise-Rosalie Dugazon, a
celebrated singer (1753-1821).
Dum'ka (Polish.) A sort of romance,
vocal or instr.l, of a melancholy cast ;
a lament or elegy.
*Du'o. A composition in 2 parts for one
instruments e. g., a violin-duo, in
contradistinction to a violin-duet for
two violins.
Duologie' (Ger.) Duology (a series of
two stage-plays, operas, or oratorios).
E.
lichancmres (Fr. pi) Bouts.
Eck'satz (Ger.) " Corner movement";
i. e., the opening or closing movement
in a cyclical composition.
ficlat(Fr.) Sameas^rw.
Eguaglian'za (It.) Smoothnoss, even-
ness ; con molta eguaglianza^ very
smoothly, evenly.
*Ein / Iage (Ger.) Extra number; inci-
dental number. (See Arie aggiunte)
flan (Fr.) Impetuosity, vehemence...
Avec e'lan^ same as Cm slancio*
filargissez (Fr.) Same as Allargatc.
Enchainez (Fr.) "Go on directly "
same as Attaccate.
En largissant (Fr.) Same as allar-
gando, or pik hrgwnente (Ger* breitef
werdend).
En enlevant (Fr.) Raising, lifting;
detaching (notes).
Enigmatical Canon. See Canon.
Enim'ma (It; pi. enimme.) Enigma;
hence, enigmatical canon.
En mesure (Fr.) " In measure," i e.,
a tempo ^ or a battuta.
Enre"gisseur Rivoire. A phonauto-
graph for attachment to a pianoforte;
inv. by Rivoire in 1895.
Ensenr'blestiick (Ger.) A concerted
piece (Fr./# [or morceau] <T ensemble).
Entusias'mo, con (It.) With enthusi-
asm.
Eritfnenmgsmotiv" (Ger.) A mus.
motive attached to and recalling a past
scene, emotion, personage, etc. ; in so
far, a Leitmotiv,
Eroico'micOj-a (It.) Mock-heroic.
Erzah'lung (Ger.) Story, tale, narra-
tion.
Esclama'to,-a (It) Exclaimed;
matoctmforx*.
236
ESEMPIO-FORTSCHREITUNG.
Esera'pio (It.) Example.
Espansio'ne, con (It.) With exalted o
intense feeling:.
Espansi'vo (It.) Same as cm espan
sione,
*Esprcssio / ne (It.) Expression-stop.
Esquisse (Fr.) Sketch.
Estre'mOj-a (It,) Extreme. , .Estrema-
mnfte t extremely.
Etichet'ta (It.) Maker's " label " on a
violin.
toffer (Fr.) To stuff, fill out ; to " pad/'
Exaltation, avec (Fr,) Same as con
csaltaziont,
Exhibition. A scholarship at an Eng-
lish university or music-school, inde-
pendent of the foundation; as the
Potter Exhibition at the Royal Acad:
of Music, London.
^Expression-marks. The mark p sf
over an arpeggio signifies "begin^z'ajw
with a swift crescendo, the highest note
tf.~
F.
Fah'ne (Ger.) A " flag " or hook ( h)
Fallboard. Same as Ply.
*Fantasi'a, con (It) With fancy;
spiritedly, vividly.
Fantasi'na (It.) Short fantasia.
Fantasticheri'a (It.) A light, fantastic
composition.
Fascia're (It) To cover, to wind
(strings)... Corde fascia' te t covered
strings.
Ferie (Fr.) Fairy-opera, fairy-play.
Fervo're, con (It) With fervor, warmth.
Feuille(Fr.) A leaf; ftuilhs votantes,
flying leaves.
Feuillet (Fr.) A leaf, leaflet. . .Feuillet
d 9 alburn^ album-leaf.
Fial)a(It) Fable, fairy-tale.
*Fia'to (It) Wind ; strumen'to a fato
(or dafiato), wind-instr.
Fila (It } pi. /&.) Rank (of organ-
pipes) j e. g., "/%**, 3 file XV,
XIX, XXir signifies " Mixture, 3
ranks (Fifteenth, Nineteenth, and triple
octave)".
*Filer un son (Fr.) Also means to sus-
tain a tone with a gradual crescendo
and decrescendo.
Fi'lb di voce (It) The very softest and
lightest vocal tone.
Fingered, octaves. In pfte.-techmc.
octaves played with the 1-5 and 1-4
fingers alternately.
*Fingering. Alternative fingerings may
be written thus :
4 5
or thus:
182
243
1 2 4 321
2.35432
A change of fingers, temporarily de-
1 layed, may be indicated thus ;
5 &
i
A trill on the pfte. is sometimes fingered
thus : f , or f , or |, etc.
Firing* ^ The ringing of all the bells
belonging to a chime at once, in contra-
distinction to chiming*
Fisarmo / nica (It) Physharmonica.
Fixing the voice. Conscious artistic
control, in singing, of the act of expira-
tion.
Flessibilit^ (It.) Flexibility.
Flies^end (Ger.) Flowing(ly), smooth-
(ly) ; scorrendo.
Flute-stop. Any flue-stop on the organ
(except stops of diapason-tone) made
of metal or wood, closed or open, and
of any pitch from if-foot (Terzflote)
to i6-foot (Flautone), may be called a
4t flute '* of some kind, either on account '
of its tone, or after the builder's taste
or fancy. Descriptions of the ordinary
styles will be found under their respect-
ive names. (Also see Flute-work, under
Stop 2.)
Flutet (Fr.) Same as Galoubet.
Fo'glio (It; pi. foglt.) A leaf.../ 1 .
- d'album, album-leaf. . .Fcfgft volan'A,
flying leaves.
^olatrerie (Fr.) Whim, caprice, bizarre
fancy.
Forte generate (It.) The full-organ
combination - stop . . .Forte Vappoggia*
tura, accent the appoggiatura strongly.
l-orfschreitung ciner Dissonanz'
(Gen) Is not necessarily the resolution
FORTTNOR-HOCHFORMAT.
of the dissonance, as one dissonance
may progress to another; Auflosung
is the exact German equivalent of
"resolution."
ForttSnor (Fr.) Dramatic tenor.
Fouett6(Fr.; "whipped.") See WKp-
ping bow.
Franimen'to (It.) Fragment
Frase(It.) Aside.
Frau'enchor (Ger.) i. A female chorus.
2, A composition for such a chorus.
. .Frau r enstimmen^ women's voices.
Freddez'za, con (It.) With coldness ;
coolly, indifferently.
Fremen'te (It.) Furiously.
Frettolo'so (It.) Hurried. . .Fretiolosa-
menfte, hurriedly.
Fri'gio(It) Phrygian.
Frog, The German word Frosch means
both "frog" (the animal) and "nut"
(of a violin-bow) ; translators of Ger-
man mus. works into English, often
mistakenly use the word "frog" in-
stead of the proper technical term
"nut."
Fuo'ri di se (It.) Absently; dream-
ingly, as if dreaming.
Furberi'a del can'to (It.) The vocal
effect of the facca chiusa (humming).
Fur sich (Ger.) Aside.
G*
Garba'to (It.) With simple grace, ele-
gance.
Gefeil'ter Strich (Ger.) Detached bow-
ing (violin-technic).
Gehaucht' (Ger.) Very softly and lightly
sung or played.
Gemen'do (It.) Moaning.
Gemes'sen (Ger.) Masured(ly), moder-
atefly) ; misurato.
Gepei'tschte Stricn'art (Ger.) Whip-
ping bow. """
Geris'sen (Ger,) Thrown off <in pfte.-
technic) by^ a rapid, deft lift of the
wrist; as ein gerissener Akkord.
Gesang'reich (Ger.) Very singingly;
cantandO) cantabile.
Gezo'gen (Ger.) "Drawn out"; forgo-
mente, sostenuto.
Gio'co, con (It.) Playfully.
Giovialita', con (It.) With joviality
jovially.
Gix / er(Ger.) Same as JSTtV^
Glottis. See Vocal glottis.
Gosier (Fr.) Throat... hthme du g. %
isthmus of the throat.
*Graces. In " La Poule " (a piece for
harpsichord, by Rameau), the following
grace occurs \.
Written:
Played:
In the " Rappel des oiseaux : '*
Written:
Played:
The former is d'Alembert's Chute et
Pine/, or J. S. Bach's Accent und Mor.
dant (Bach gives a different sign); the
latter is Fr. Couperin's Pine/ simflt,
but with a different sign.
Gradatamen'te (It) By degrees, grad-
ually.
Grandement (Fr.) With grandeur ; with
breadth, dignity and force. (It con
grandezza.)
Grand'or'gano (It.) Great organ.
Gravita', con (It.) With gravity, dig-
nity; ponderously.
*Gruppet / to ascenden'te (It) Back
turn. . , G. discenden'U* ordinary turn.
H.
Habane'ra (Sp.) A species of contra-
dance comprising two 8-measure peri-
ods in 6-8 time. It is a typical Cuban
v dance; hence called the "contradanza
criolla " (Creole contradance).
Hack'e (Ger,) ' Heel. (Abbreviated, in
organ-technic, H.)
Hannony, false. I. The inharmonic
relation. 2, Discord produced by im-
perfect preparation or resolution. 3,
Discprd produced by wrong notes or
chords,
Havanaise (Fr.) A Habanera*
Ein'ter der Sze'ne (or Sce'ne) (Ger.)
Behind the scenes.
HodrTormat (Ger.) The ordinary shaps
of music-paper, higher than it is broad
(See Querformat.)
238
HOLDING-LONTANISSIMO.
Holding. The burden of a song. (Ob-
solete.)
Httitienie de aoupir (Fr.) A 32nd-rest
I.
Iipi&(It.) The most.
Im (Ger.; contraction of in *&.) In the.
. , Jm TfmfO) in the (regular) tempo ; a
'
Inci'soy* (It) Incisive, sharp ; sharply
emphasized ; ind'se [It note}, [the notes]
sharply marked.
Ingennamen'te (It) Ingenuously, nat-
urally.
Ingranag'gio (It.) Gear, gearing ; ma-
chine-head.
Insceni'ning, Inszenie'nmg(Ger.) See
Mist en scene.
Intar'sio, Intar'zio (It.) Purfiing.
Interligne (Fr.) Space (between lines of
stag).
Intermezzi sinfo'nici (It) Incidental
music (interludes) for orchestra.
Ipo- (It) Hypo- ; e.g., ipofri'gio, Hy-
pophrygian ; ipoli'dico^ Hypolydian.
Itlan^o (It) See Slando*
Isthme (Fr.) Isthmus.
Iftnrmentato're (It.) Instrumenter ; or-
dwstrater ; composer for orchestra.
J.
JlBgling Johnny. Formerly a popular
name, in London, for the Turkish cres-
cent
Joaction (Fr.) Blending (of the vocal
registers) ; also f union des registres*
Jn*te(Fr.) Perfect (saM of intervals).
K.
Ktntor(Ger.) Cantor; the director and
trainer of a choir or chorus in a church
or school.
Ker / nig(Ger.) With firmness, decision ;
^ dense.
Kes'selBrmiges Mund'stiick (Ger.)
Cupped mouthpiece.
Klatier^abend (Gen) Piano-recital in
the evening. Also davitr abend*
Klavier/harfe (Ger.) Same as
atur^karfe,
Kna'benchor (Ger.) Boy-chorus, boy-
choir ; also, a composition for such a
chorus or choir. . .Knafbenstimmen*
boys 1 voices.
Kokett 7 (Ger.) Coquettish(ly).
L.
Lamen'to (It.) Lamentation, dirge, eU
egy-
Lam'penfieber (Ger.) Stage-fright
Languo're, con (It.) With languor, lan-
guidly.
Larghez'za, con (It.) Same as Largo.
mente.
Leer (Ger.) i. Empty, hollow (of a tone).
2. Open (of a string).
Legan'do (It; "binding.") i. Equiva-
lent to Legato. -2. An expression-mark,
in vocal or instr.l music, calling for the
smooth execution of two or more con- '
secutive tones by a single " stroke of
the glottis" (vocal), in one bow (violin,
etc.), by a single stroke of the tongue
(wind-instr.s), or legatissimo (on organ
or pfte.).
Legate (It; pi. form of hgafta^ the
words "If note " being implied.) Slurred ;
played (or sung) evenly and smoothly.
^Legatu'ra (It.) 2. A slur.
Leggen'da (It.) Legend.
Leggcris'sime (It; pi. of leggerissima^
"le note" being implied.) [Play or
sing the notes] very lightly.
Music-stand.
Le'gni (It; pi. oile'gno, wood.) Wood*
wind.
Lesff(Fr,) The /-holes.
Lice'o (It.) Lyceum ; Conservatory.
Lie'derabend (Ger.; "song-evening.")
A song-recital (by one singer).
Lie'derdichter (Ger.) A writer of songs
(poems) to be set to music.
Lie'derspiel (Ger.) i. Ballad -opera,
vaudeville. 2. A concert-piece for vo-
cal soli, chorus, and pfte.-accompani-
ment, with dramatic and local color}
invented by Schumann in his '*Spa
nisches Liederspiel," op. 74.
Liuta'io (It) Same as Luthier.
Liuti'sta (It) Lute-player.
Lontanis'simo (It.) Very far awayj
equivalent to piano possible.
LUNGA E DIMINUENDO NINNERELLA,
Lun'ga e diminuendo [morendo] (It.)
Long sustained and diminishing in force.
(Here "nota" is implied.)
M.
Macchinet'ta (It.) Machine-head.
Madrile'fla (Sp.) A dance of Madrid.
*Mandolina'ta (It.) 2. Title for a man-
dolin-piece of a quiet character, such
as a serenade or nocturne.
Mandoloncerio, Mandolo'ne (It.)
Large styles of the mandolin." Man-
dolina, Mandola, Mandoloncello and
Mandolone do not differ one from the
other in form, but only in size." [GAZ-
ZETTA MUSICALE.]
Manua'liter (Lat.) On the manual(s)
alone (organ-music).
Marca'te (It. ; pi. of marca'ta) A direc-
tion 'signifying : " The notes are to be
marked"; the words "If note" being
implied.
Mar'kig (Ger.) " Marrowy " ; with strong
emphasis; sturdy, strong, vigorous.
(Also adverb.)
Mediation. See Chant $.
Melo'logo (It.; pi. mek'loghi?) Melo-
drama ; a spoken dramatic scene accom-
panied or illustrated by music.
M es'sa da re'quiem (It.) Requiem mass.
Mes'sa in sce'na (It.) Same as Miss en
scene.
*Mesur6 (Fr.) Equivalent to moderate;
e.g., A$eg ro piesure'.
Metro'mano-piano (It.) A finger-exer-
ciser for pianists, inv. by Luigi Pizza-
miglio in 1897, and commended -by a
special committee of the Milan Conser-
vatprio. It has a short keyboard, and
various springs and other accessories.
*Mez'zo(It; adjective) Occurring alone,
it refers to the dynamic sign next pre-
ceding (either/ or jp). . .Mezzo respiro,
half-breath (i.e,, a [rapid] partial inspi-
ration).
Mez'zo (It. ; nowi) Middle ; ml mezzo
del arco, in the middle o( the bow.
Milieu (Fr.) Middle.
Minu'gia (It.) Gut (Also Budello.)
Mise en scene (Fr.; It. messa in scena;
Ger. Inszenierung) Setting of a play
on the stage ; stage-setting, mounting.
Moderatamen'te (It) With moderation
(either of tempo or emotion) ; also cm
moderations
Mol'to sot'tovoce (It) Very softly in.
deed.
Mon'do picci'no (It.) " Little Folks,"
" Little People"; title equiv. to the
German 4t Kinderszenen/' "Kinder-
stucke."
Montatu'ra (di corde) (It.) Set of
strings.
Mor'bido (It.) Soft, tender ; morMdis-
$imo^ very soft. . . Con morbidezsa % with
tenderness, softly.
*Morden'te. G. NAVA, in his "Ele-
ments of Vocalization," calls an un-
accented double -appoggiatura (e. M
- \ imordente,
*Mos / so (It) Occurring alone as a
tempo-mark, Mosso is equiv. to Con
moto. [Verdi: "Ai'da," pf.^score, p.
285.]
Mu'sica fic'ta (Lat.; "feigned music/ 1 )
Mediaeval name for scales transposed by
the use of the ft or \) ; such scales being
considered irregular (" feigned ") in con-
trast with the regular ones.
Musical Dictation. See Dictic must-
cale.
Mu'sico (It.) An artificial male soprano j
a castrato or evirato.
Musique de scene (Fr.) Incidental
music.
Musurgia (Gk.) The art of correctly
employing the musicaLconsonances and
dissonances.
N.
Nach'gebend, Nach^iebig-CGer.)
Yielding(ly), slower and slower, ralfcn-
tando...Nach'giebiger^ more yielding.
ly^fibsostenuto.
Na'ker. Ancient name of the kettle*
drum.
Naset'to (It) Point (of bow). Also
punta.
Naufra'gio (It ; " shipwreck.") Modern
equivalent of Fiasco.
Negligen'za, con (It.) With negligence,
carelessly.
Ni'colo. An ancient style of bombard,
the alto of the oboe.
Nien'te (It) Nothing. (The phrase
quasi niente signifies " inaudible, as k
were/' i.e., barely audible.)
NOTATION-PEL,
*Notation. In the following example
[Rubinstein, op, 3, No. 4] for pfte., the
two notes with convergent stems, jjfo
and^ij, are to be played simultaneously :
3 ^
1 2 1
Nottnmi'no (It., dimin. of Noiturno.)
A short nocturne.
^Numerals. The Roman numerals I.,
IL, IIL, IV., in violin-playing indicate
the string to be played on, the E-string
being L 1\ 2, 3", and 4* (iarfrima,
seconda, terza and quarto, corda, re-
spectively), are also written. A single
8 tinder a bass note signifies that the
note should be doubled in the lower
octave./ C. and^ , in modern Italian
piano-music, stand for Una corda and
rr* ^^respectively. Alsor/. Divise
and Fingering, in Appendix.
Nymphalc (Fr.) A French portable
organ of the i6th century.
o.
*0boe (compass), i. The usual orches-
tral compass is only to /*. . . Oboe da
caifcia (It), the tenoroou oboe (corno
inglese)...0&v lunga, same as oboe
d'amore. 2. In the organ, an 8-foot
reed-stop, with conical pipes surmounted
by a bell and cap. . , Orchestral oboe, a
stop accurately imitating the orch.l
instn
O1x>'er (Ger.) Oboist
Officle'ide (It) Alternative spelling of
*0perettc [witfi /] is the correct spelling
of the French word.
Qperi'sta (It) Opera-composer.
Order. The arrangement of chord-tones
above a given bass, "open" and
"close order" being equiv. to " open "
and u close harmony ".
Orecchian'te (It) One judging of
music u by ear " ; one lacking theoretical
and practical training in the art
Orieo'nico (It) Pertaining to the
Qrpheoas.
*0rganet'to a manu'brio (It.) Hand-
organ. (Also 0. & Barbaria)
Organ-metal. Same as Pipe-metal.
Or'gano espressi'vo (It) Swell-organ
Otto*m (It J tfLotottfne> brass*) Brass-
wind.
p.
Young Italy occasionally in-
dulges in five p's to indicate a barely
audible musical murmur.
Pa'gina d'album (It.) Album-leaf.
Parabrac'cio (It) Arm-rest
Parallel intervals are formed by the
progression of two parts in the same
direction and at exactly the same inter-
val.
Pa'ri (It.) Equal (of voices; "twi
pari") \ duple (of times ; " tempi part").
*Parlan'te(It ; " speaking.") In pfte.,
technic, this direction calls for a clear,
crisp non legato.
Parla'to(It) Spoken.
Parolier (Fr.) Same as Liederdichter.
Partie (Fr.) Part. . .Parties sfyarSes,
separate parts... Partition et parties^
score and parts.
Partitionnette (Fr.) A little (or slight)
score.
Pas'so (It) I. Step ; e. g., Vaher a
due passi. 2. Measure ; time ; passo
ordina'rio, common time ; passo doppio
composto> compound duple time.
Pau'ken (Ger.) To thump ; thumping,
pounding, banging (rough piano-play-
ing).
Pau'ra (It) Fear, dismay. . .Pauro'sa^
fearful, timid.
Pedal' dop'pelt (Ger.) "The pedal-part
in octaves (organ-technic ; It. pedale
doppio). . .Pedal ein'fach> a .direction
following the foregoing, and signifying
that the pedal-part is no longer to be
doubled. . .Pedafkoppel, pedal-coupler.
Pedale o'gni battu'ta (It) "Take
pedal with each measure."
Pedalet'to (It.) A mechanical^ stop on
the organ ; e. g., p. di accoppiamen'to^
coupler ; p, <di combinAzio'ne^ combina*
tion-stop.
Pedali'no (It.) Same as Ptdaletto.
Pedal-sign. A sign for the loud pedal,
(a) O)
written p" J, has been introduced
by Arthur Foote of Boston ; a showing
the precise point at which the pedal
should be depressed, and b where it
should be raised.
Pei'tschend (Ger.) See Whipping bow.
Pel (It.) Contraction of per #, "for
the n ; e. g., pet mandolino, for the
mandolin.
PENNA-PROGRESSIVE COMPOSITION.
241
Pen'na (It.) Pick, plectrum.
Pensie'ro (It) Thought ... Pensiero
del(la)t Souvenir of , Recollections
of.
Penso/so (It) Pensive, thoughtful
Perce (Fr ,) Bore (of wood-wind instns).
Per interval'li giu'sti (It) By exact
intervals (in a canon ; i. e. , the theme
is repeated interval for interval, strictly).
Pertichi'no (It.) The singer of an ex-
tremely subordinate operatic part; a
part often taken by the chorus-leader.
In German such a singer has been
jocularly -termed a So' lochor" sanger^
" solo chorus-singer". (See Corista.)
Petac'cha (It.) Plectrum,
Pezzet'to (It) Little piece.
Pez'zi Stacca'ti (It.) Airs dttachts.
Phras6 (Fr.; noun,) Phrasing.
Piano'la. A mechanical piano-player,
invented by E. S. Votey of New York,
in the year 1897. It is furnished with
4 stops, Piano, Forte, Tempo and
Accent^ by whose skilful manipulation
the most artistic effects may be pro-
duced at will. The motive-power is
supplied by two pedals (treadles) worked
by the feet ; these pedals actuate (a) a
revolving music-roll of perforated paper,
whose perforations control the time-
value of the notes ; and () the pneu-
matic action, consisting of 65 felt-
covered levers, or automatic fingers,
"which command a compass of five
octaves and four semitones (from A\ to
<*$), and act with all the delicacy and
precision of a trained pianist's digits,
besides being able to play any 4-hand
pieces. The apparatus is not attached
to the pianoforte, but set in front of it
in such .a position that the 65 automatic
fingers engage the proper keys. The
repertory, comprising at present (1900)
about 20,000 numbers, embraces all
grades of popular, romantic, and classic
pianoforte - music and arrangements.
(Cf. Molian^
Pib-corn (Welsh,) A hornpipe.
Piffera'ta (It) Air for the fife, or in
imitation (as on the pfte.).
Placidez'za, con (It) With placidity ;
tranquilly, calmly.
Plain-beat. An obsolete English harp*
sichord-grace ;
Written: Played:
Plein (Fr.) Full ; a pten son, with ftf
tone (sonoramtntt).
Plet'tro (It.) Plectrum, pick.
Pluperfect. Augmented (of intervals).
Po'co me'no (It.) When this phrase
occurs alone as a tempo-mark, mosso is
implied ; i. t^poco meno mosso, a little
less fast [slower]... Poco pik, standing
alone, -also implies mosso ( lt a little
faster").../^ P& ^nto delta I
volta, somewhat slower than the first
time.
Poemet'to (It; "little poem.") A
slight musico-dramatic work.
Pointing. See Chant 3.
Pol'ca(It) Polka.
Polchet'ta (Polketta?) (It.) Littte
polka.
Polifo'nico,-a (It.) Polyphonic.
Pol'nisch (Ger.; " Polish.") Polacca (as
the title of a piece).
Polone'se (It.) Polonaise. (Polacca?)
Pom'pa, con (It) With pomp, pom.
pously, loftily.
Porta-mu'sica (It) Music-roll, port-
folio.
Porta'te la vo'ce (It) " Carry the
voice"; a direction to more than one
singer to sing portamento.
Post-horn. A horn without valves or
keys, capable of producing the natural
harmonics of its fundamental tone;
1 used on post-coaches.
Premier dessus (Fr.) Soprano.
Pressan'do (It.) Same as Pressante.
Pr estissimamen'te> (It.) With extreme
rapidity (equiv. to Prestissimo).
Presto parlan'te (It) * * Speaking rap.
idly (volubly) "; a direction in recita-
tives, etc.
Principali'no (It. ; " small diapason/ 1 )
An 8-foot stop on the swell-organ.
PrinzipaKstimme (Gef.) Leading part;
solo part.
Profa/noj-a (It) Secular; as oratorio
profano^ musicaprofana*
Programmist. i. A musician who writes
music to fit a " program ", which latter
may be either expressed or implied. 2.
A theorist or critic who favors compos-
ing according to program.
Progressive composition of a song is
the. English equivalent for Durchkom*
ponieren (g. vj*
242
PROLONGEMENT-ROLATA.
Proloflgement (Fr.) Sustaining-pedal.
Pronunzia'to,-a (It) Pronounced, em-
phasized.
Protagoni'sta (It), Protagoniste (Fr.)
Singer of the leading r&le in an opera.
*Pro'va (It.) Rehearsal. ..P. in costu'-
me, dress-rehearsal. . , A genertfle, full
rehearsal.
Pult (Gen) Desk...r,rter (/.) Pult,
and Zwdtes (//.) Pult, in a score, in-
dicate, respectively, Division i and 2 of
a group of orch.1 instr.s playing divisi.
Pnlt'virtuos (Ger.; Fr. virtuose de pu-
fOrt) A "virtuoso of the desk "(i*e.,
conductor's desk); a conductor of
celebrity, like Hans Richter, von Billow,
Weingartner, etaL, who either travels
with his own orchestra, or conducts
different orchestras at various places.
Pun'to corona'to (It) Hold(/T\).
Q-
Qua'dro (It) Picture, tableau.
Quer'format (Ger.) Oblong (shape of
music-paper, broader than long).
Quitter (Fr.) To quit, leave ; sans quit-
ter la corde* without quitting the string.
R.
Raccoglimen'to (It) Collectedness of
mind, composure.
RaccoTta(It) Collection.
Raccon'to (It) Tale, story.
Railenta / te (It, imperative.) Go slower,
Recessional. A hymn sung in church
during the departure of the choir and
clergy after a service.
Rcdite(Fr.) Repetition.
Reduce (It ridur^re.) Same as Rtduire*
. .Reduction (Ger. Rcduktionf; Fr. r/-
duction; It ridustcfne), a reduced com-
position (see Rlduire}*
Reif tanz (Ger.) Same as Sehafflertanz.
Reminiscence (It pi.) Recollections.
R6solument (Fr.) Same as Risoluta-
mente.
Restez (Fr. ; " stay there ! ") In music
for bow-instr.s this direction means:
(i) "Play on the same string", or (2)
44 Remain in the same position (shift)".
*Rests. A pause of
several measures is
often written thus :
Retenu (Fr.) Same as Ritenuto.
Retrosce'na (It.) Behind the scenes.
Revue (Fr.) A review in musico-dra-
matic form, and generally humorous, of
the striking events in a season or year
just closing.
*Ribattu'to,-a (It.) Restruck, repeated ;
note ribattute, repeated notes.
Ric'cio(It) Scroll.
Ricochet (Fr.) In violin-technic, a var-
iety of staccato differing from the $au-
tillKsalt&to) in not employing the wrist
(in the saltato, up-stroke, a separate
wrist-movement is made for each de-
tached tone).
Rifiormen'to (It.) Same as Adorna-
mento.
Rimembran'za (It. ; pi. rimembran'ze^
Recollection, souvenir, memory.
Ripieni'no (It.) A 4-foot stop on the
swell-organ.
*Ripie'no (It.) A combination-stop in
the organ drawing all registers of any
given manual.
Ripi'glio (It.) Repetition, reprise.
Ripo'so (It) Repose* . .Riposa'to % re-
poseful, restful. . .Riposatamcn'tet re*
posefully.
Ripren'dere (It) To resume ; stringendo
fer riprendere il P tempo, hastening,
in order to regain the former tempo.
Risolutezza, con (It.) With resolution,
decision.
Rispet'to (It) Love-ditty.
Rit. is given on p. 2 as an abbreviation
of Ritenuto, and is often so used, though
more frequently for Ritardando. In
view of the difference in meaning
between Ritenuto and Ritardando, it is
advisable always to write Ritenuto out
in full, when that nuance is desired.
Ritardan'za (It) Retardation.
Ritardazio'ne (It.) Retardation, drag.
Rit'mico (It.) Rhythmical. . .Rifmico,
written after a recitative, is also equiva-
lent to " a tempo" or misurato.
Rif ter-Bra'tsche (Ger.) A large style
of viola, the Viola alia, inv. by
Hermann Ritter of Wttrzburg ; a per-
former on it is sometimes called a
"Ritter-BratschistV'
Rivi'sta^t) Same as Revue.
Rola'ta(It) A roulade.
ROMANZA SEN2A PAROLE-SIGNS,
245
Roman'za sen'za parole (It.) Song
without words.
Romanze'ro (It.) A suite or cycle of
romantic pieces for pf te.
s.
Sag'gio (It.) Examination.. (Concerto
di saggio, pupils 1 concert given for
practice in ensemble, or quasi public,
performance; equivalent to the German
tjbungsabend 'or Abendunterhaltung).
*Sampo'gna (It.) A variety of the Italian
bagpipe, having (in a specimen examined
in the United States) 2 drones, and 2
melody-pipes fingered by the right and
left hands respectively ; on it was played
the accompaniment to a shrill reed-pipe
which the performers called a coma-
musa. The bag is inflated by the breath
and squeezed by the right arm.
Sans(Fr.) Without.
Sautilte (Fr.) Saltato.
Sauvement (Fr.) Resolution (of a dis-
sonance).
Saxofo'nia (It.) Saxophone.
*Scale. 4 (of a piano). Compass ; i.e.,
the range of tones represented by the
keyboard.
Schafflertanz (Ger.) Festival procession
and dance, probably of great antiquity,
of the Coopers' Guild at Munich ; held
every 7 years.
Schie'ber (Ger.) Same as Schub.
Schiette'z'za, con (It) Simply ; neatly,
deftly.
Schla'ger (Ger.) A "hit"; brilliantly
successful piece or play.
Schmacli'tend (Ger.) Languishing^),
longing(ly).
Scintilla (It.; pi. sdnttfle) A spark.
Scivolan'do (It.) Same as Glissando^ in
pfte.-technic.
Scoop. Vocal tones are said to be
*' scooped" when taken, instead of by
firm and just attack, by a rough por-
tamento from a lower tone.
Secondan'do (It.) Supporting, follow-
ing; secondando la voce (or il canto},
yieldingly following the principal part
. (with the accompaniment).
Second dessus (Fr.) Mezzo-soprano.
Semitril'Io (It) Inverted mordent.
Sentimental (It.) Feelingly.
Sen'za misu'ra (It.) " Without meas-
ure " ; i.e., not in strict time ; equiva-
lent to the tempo-mark a piacere, and
opposed to misurato...Senza suono*
" without tone " ; i.e., spoken.
Sept'akkord(Ger.) Seventh-chord. (Also
Sep'timmakkord.)
Serenatella (It.)' Little serenade.
Sereuita', con (It) With serenity, se.
.renely, tranquilly.
Serieta', con (It) Seriously.
Settimi'no (It.) A piece for 7 perform-
ers.
Severity con; Seve'ro (It) In ase*
vere (stern, austere) manner.
Sfuma'to (It; pi. sfuma'te \le note im-
plied].) Very lightly, like a vanishing
smoke-wreath. . . Bfumatu f ra t ' 4 Smoke-
wreath" (title of a light, airy composi-
tion), ,., 4 e .,.
*Signs. % 3 Instead of the mis-
leading short slur, with figure, for doub-
lets, triplets, etc., modern French music
sometimes has a dotted slur (as shown
above), which is an improvement
another sign for
' triplet (=
\
This sign, at the end of a staff,
shows that the measure is unfin-
ished, so that no bar is required.
.(bis) The re-
ten at a single bar.
times writ-
i
The sign (is used
like I to connect
notes to be pkyed
by one hand.
- This sign
= is used; (i)
As a breath.
ing-mark; (2) to mark a very brief
pause, together with the interruption
caused by taking breath.
* Another sign for the Back Turn.
nifies mezzo staccato
e pesante (marcato) ;
e.g.:
SILENZIQ-SyiZZERA.
n A In organ-pieces, signs for pedal-
ling are sometimes written thus :
For right foot, heel fl , toe A
** left " " U " V
yG In piano-playing a note to be
i taken by the right hand is some-
times marked thus: jj; for the left
tend: f.
(Abo $/% in APPENDIX, the articles Notation,
tfttmtrals, Timezzd Turn.')
^Silen^ip (It.) 2. A pause, silence ; as
fango siUn&o.
Simplement (Fr.) Simply, semplice;
ires drnplemtnt) semplicissTrnamente.
*Sinfimi'a (It) This term is still used
in Italy to designate an opera-overture ;
e.g., la sinfoniadel Tannh&uscr.
Siflfoni'sta (It) A writer of sympho-
nies, or for symphony-orchestra,
Sing'amt (Gen) See Singmesse . . . Sing*-
en, to sing, viaib\t...Sing f gedichti a
poem for nras. setting. . . Sin/kunst, art
of singing. - . Singlehrer> singing-teach-
er. ..Sinjf?tittr y gamut, vocal scale. . ,
Sinj^mftrcken, vocal ballad... Sing*-
master* singing- master. ..Singmesse,
a-cappella mass...pSz^flzV/, treble
string, chanterelle. . . Sing'stund*, sing-
ing-lesson, vocal instruction... Sing-
jibungi singing-exercise. . . Sin^verei^
singing-society.
Singtioz'zo (It) Sob.
Slaacian'tejSlancia'toCt) "Thrown
off" lightly and deftly, or forcibly and
vehemently.
* Slarga'to (It) Slower, f& sostcnufa
*Slide. 4. On a violui-bow, that part of
the nut which slides along the stick.
Splmizza're (It) Same as Solfeggiare.
Sopranisf (in) (Ger. j Soprano singer.
Sorri'so(It) A smile.
*Sorti'ta (It) See Aria in APPENDIX.
Soatenu (Fr.) Same as Sostenuto.
Specification. (Ger. Disposition?} An
* enumeration of the various stops com-
posing any given organ, giving number,
kind, and arrangement
Splanar' la vo'ce (It) To render the
Tofce even ; to blend the registers.
Spiccala (It.) In violin-technic, a va-
riety of staccato differing from the ml-
tote in employing the wrist -stroke
tferoagiiout, for each detached note.
Spie'gelkanon (Ger.) A canon to be
performed backwards ; i.a, as it appears
when held beforea mirror (" Spiegel ").
Spigliate^za (It) Agility, dexterity,
briskness. ..Spigftatafsse (pi.), short,
lively pieces or studies requiring dex-
terity.
Stanchez'za (It) Weariness; cwi dU
wearily, very dragging.
Stan'co,-a (It.) Weary.
*Stentan'do(It.) Means literally, " de-
laying, retarding, dragging " the tempo.
*.*SUnta'tOt delayed, retarded, dragged.
Stiria'na (It.) See Styrienne*
Stornello (It) A form of song in which
each 8-line stanza rhymes thus : 1-3 2-4
5-6 7-8.
Strambot'to (It.) Folk-song; rustic
love-ditty. (Also Strambot'tolo!)
Strappa're (It; u to pluck off.") In
piano-technic, to throw off a note or
chord by a rapid, light turn of the
wrist. . .Lo straff are i the thro wing-off,
. . . StrafpatO) thrown off (Ger.gerissfn).
Strascina're la vo'ce (It.) To sing a
portamento with an exaggerated drag-
ging or drawling.
Strei'cher (Ger.) Player(s) on any bow-
instns.
Strefta (It.) A closing passage (coda)
in swifter tempo than the movement
preceding.
Strich'-Staccato (Ger.) A staccato in :
dicated by wedge-shaped dashes ( f 1 ).
Strict style (of composition). See Coun-
terfioint, strict.
Strie r se (Ger.; It. capoco'mico) The
leading comic actor or singer in a com-
pany, either gentleman or (It. capoco'-
mica) lady.
Strimpella'ta (It.) Strumming, scrap-
ing.
Strin'gere (It.) To hasten ; senza strin-
gere, without hastening.
Strophic composition. See Song 2. .
Styrienne (Fr.; It. Stiriana) An air in
slow movement and 2-4 time, often in
minor, with Jodhr after each verse,
for vocal or instr.l solo.
Super1>o,-a (It.) Superb ; proud, lofty
. . . Super bamm'te^ proudly, loftily,
Svilup'po (It.) Development,
Syiz'zera, alia (It.) 1 n Swiss style-
TABLE DU FOND-UMGEBUNDEN,
Table du fond (Fr.) Back (of violin).
Ta'glio(It) A "cut"
Tallo'ne (It.) Nut (of bow).
Tarantelli'na (It.) Little tarantella.
Telltale. A small weight moving verti-
cally in a groove, and so connected with
the bellows of an orgafi that, bv rising
and falling, it shows the organist or
*' blower" the amount of wind in the
fellows.
Terzetti'no (It.) A short tercet.
Tetralogie' (Ger.) Tetralogy ; a series
of 4 stage-works or oratorios.
Three-step. (Ger. Drdtritt; It. Vaher
a tre passi; Fr. trois-temps.) The or-
dinary (Vienna) waltz. (See Waltz.)
Timballo'ne (It.) A i6-foot pedal-stop
in the organ.
Timbrel (Hebr.) A tambourine or tabor.
*Time. In French notation
the large 3 is still some-
times employed instead of J.
Ti'mido (It ) Timid, timorous . . . Timo'-
re, con, with timidity ; timorously, fear-
fully, anxiously.
Tonan'te (It.) Thundering, thunderous.
Ton'figuren (Ger., pi. ) " Tone-figures " ;
i.e., " nodal figures" (q.v).
Tom'metro (It.) Tuning-fork (/. a per-
cussione)-; pitch-pipe (t. afiato).
*Ton'satz (Ger.) 2. Arrangement (e.g.,
of the vocal or instr.l accomp to an
ancient melody).
Tornan'do (It.) Returning ; /. alprimo
tempo (or t. come prima), returning to
(resuming) the original tempo.
Traduzio'ne (It.) Arrangement.
Trascrizio'ne (It) Transcription.
Traspor'to, con (It.) With transport,
ecstatically.
TrefFiibung (Ger.) A singing exercise
on the " attack, 11 as regards either pitch,
or time of entrance (in duets, canons,
etc.).
Treman'te (It) Trembling; i.e., with
a tremolo effect. *
Trial (Fr.) Buffo (or comic),tenor.
Trich'terformiges Mund'stiick (Ger.)
Conical mouthpiece.
TrilogiV (Ger.) Trilogy; a series of
3 stage-works or oratorios.
Trisser (Fr.) To demand a number for
tfie third time ; to " encore** for a sec-
ond time.
Trito'nikon (Ger.) A modern form of
double-bassoon, made of metal.
Trom'ba reale (It,; "royal trumpet")
An 8-foot trumpet-stop in the organ.
Trompe des Alpes (Fr.; It trombadelle
A Ipi.) " T he hollowed trunk or branch
of a tree, from which the old moun-
taineers draw strange tones." [Rein-
troduced lately into Switzerland by Prof.
Heim of Zurich.]
Tron'co,-a (It.) Cut off short ; stopped
abruptly. . . Suoni tronchi^ tones cut off
suddenly.
*Tuba. The bass tuba in Eft is exten-
sively employed in the modern orchestra,
*Turn. Example of turn-sign over a
dotted note; from Beethoven, op. 14,
No. i, showing the dot as he himself
wrote it :
jy .
Written:
S&
J
Played:
Tut'ta for'za (It.) Abbreviation pf u con
tutta faforza" with full force.
Two-step (Ger. Zweitritt; It Valzer a
duepassi; Fr. deux-temps) The rapid
waltz. (See Waltz.)
u.
Cl>un^sabeiid (Ger.) See
halting, in APPENDIX.
in APPENDIX.
UnVgekehrt (Ger.) Reversed; umg*
kehrttr Doppelscklag, back turn.
Um'schmeissen (Ger. theatrical slang.)
To break down in a r61e, so as to neces-
sitate a general stoppage and the recom-
mencement of the passage.
*Ufc / gebundea (Ger.) Unconstrained;
UNION DES REGISTRSS^WHIPPING BOW.
fftit vngehaukncm Humor, with uncon-
strained hmnor, burlando.
Uaioa des registres (Fr.) Blending of
the (vocal) registers,
Ufli'ti (It., pi) " United " ; this direc-
tion in a score, after 4Mn^ signifies
that the instr.s or voices again perform
their pert in unison.
UnvocaL i. Not suitable for singing.
2* Not vibrating with tone ; unvocal air
is breath escaping with a more or less
audible sigh or hiss, due to unskilful
management of the vocal apparatus,
V.
Val'zer(It) Waltz.
Veris'mQ(It) Naturalism. ,. Vtrtfiiscli
(Ger.), pertaining to or affected by
naturalism; naturalistic.
Verstarlcen (Ger.) To reinforce.
(It.; pi vibrate [If note im-
].) Strongly accented, and dimin-
g in intensity^ ; vocal or instr.l).
. . . Vibmsitfne di wce^ the attack of a
tone/or/* or $f, and diminishing while
holding it.
Vi'de se'quens (Lat.) *' See the follow-
ing."
Vielle a rone (Fr.) Hurdy-gurdy.
Vigo're,con(It) With vigor.
Viola al'ta. A large viola, inv. by Her-
mann Ritter of Wismar, Germany, and
described in his pamphlet, "Die Ge-
schichte der Viola alta und die Grund-
satze ihres Baues" (1877). It has a
fuller and freer tone than the ordinary
viola, and has been quite extensively
introdactd into German orchestras.
Viola di bordo'ne. The barytone
{instr.).
Tiolina'ta (It.) I. A piece for violin.
2. Apiece for another instr., imitating
the violin-style.
VioKnzoli (It.) .An 8-foot stop on the
swell-organ.
ViolTsta (It.) Viola-player*
Violottcelli'sta (It) 'Cellist.
VIolot'ta. A bow-instr. of violin-type,
inv. 1895 by Dr. Alfred Stelzner, Dres-
den, and intended to fill the hiatus in the
string-quartet between viola and 'cello.
It is played like the viola, and has the
same dimensions ; but its accordatura
i a fourth tower than the viola.
Tone full in lowest register, mellow and
tender ia'the medium, and the 2?-string
well-adapted for sustained melody. Suc-
cessful concerts have been given with
the Violotit and 'Cellone (g.v.) in Dres-
den Dr. S, claims to nave obtained
the most equable and powerful reson-
ance from Instr.s of the violin-type.
Virtuose de pijpitre (Fr.) SeeP#/ft*V-
tucs.
Vitesse (Fr.) Rapidity, swiftness.
Vivement (Fr.) Same as Vivace. '
*Vocal cords. " The free median bor-
ders of 2 folds of mucous membrane
within the larynx, bounding the ante^
rior two-thirds of the glottis on either
side. Each is formed by the free me-
dian edge of an elastic (inferior thyro-
arytenoid) ligament running from the
angle of the thyroid cartilage to the
vocal process of the arytenoid, and cov-
ered with thin and closely adherent
mucous membrane." [CENTURY DICT,]
*Vo'gelgesang (Ger.) 2. A stop in an
organ (" bird-stop").
Voile du palais (Fr.) Veil of the palate.
Vor'setzungszeichen (Ger.) Chromatic
sign.
Vor'tragsstuck (Gen) A piece for per-
formance before an audience (in con-
tradistinction to Ubungsstiick* a prac-
tice-piece); a concert-piece; a show-
piece. 2. V*&bung, study intended
for concert performance.
VorVarts (Ger.) Forward(s) ; etwas v.
gehend* somewhat f aster, pocofib mosso.
*Vuo 7 to,-a (It.) 2. Empty ; scena vuota %
the stage [remains] empty.
w.
Whipping: bow. (Fr. foiutttj Ger. ge*
fdtschU Strickart.) A form of violin-
technic in which the bow is made to
fall with a certain vehemence on the
strings. Chiefly employed when it is
desired to mark sharply single tones in
rapid tempo; e.g. ?j
Not infrequent in modern orchestral
music ; but avoided by the classic com-
posers on account of its rough, harsh
effect*
ZARAMELLA ZITTERA.
247
Z.
Zarameria (It.) Rustic pipe, with
double-reed held between the player's
lips, 7 finger-holes, and bell-mouth ;
plays melodies to the accompaniment
of the Neapolitan sampogna (q.v.\ AP-
PENDIX).
Ziem'lich bewegt' und frei im Vor 7 - Zit'tera (It.) Zither.
trag (Ger.) Quite animated and free
in delivery (style).
Zi'therharfe (Ger.) A species of auto-
harp in which dampers actuated by
digitals are used to damp the strings.
Mtiller's Accordzither (inv. 1894?) is
an example*
SUPPLEMENT.
English-Italian Vocabulary
for
Composers.
ABOVE-BELOW.
A.
Above. Sopra . . . A love tht right hand,
sopra la mano destra.
Accelerated. Accelerate ; accelerating,
accelerando ; stringendo ; pressante. . .
Accelerating the tempo, ravvivando il
tempo. [See Enliven]
Accented, Marcato; enfatico, conenfasi.
Accompaniments. Accompagnamenti.
. .Accompaniment wry soft throughout \
sempre pp. gli accompagnamenti.
Affected(ly). Smorfioso ; affettato (con
affettazione).
Affectionately). Affettuoso (rffettuo-
samente). [See Tender^
Afraid. Paventato. [See Fearful]
Again, Ancora, ancor.
Agility. AgiM ; velocitA.
Agitated(ly). Agitato (con agitazione);
tumultuoso (tumultuosamente) ; vi-
brante.
Agreeable. Gradevole; piacevole. [See
Pleasing.]
Air. [SteJfttofy.]
All together. Tutti.
Also. Anche.
Alternatively. Alternamente.
Always. Sempre,.. A /ways swift and
soft, sempre. con agevolezza e soito-
1 voce,
And. E, ed (before a vowel).
Angry. Adirato ; angrily, con ira.
Animated(ly). Animate (con anima) ;
allegro (allegramente) ; vivace (viva-
cemente); vivido, vivo (vivamente ) ;
.vivente; visto (vistamente)jconmoto;
svegliatp ; risvegliato. , * With graving
, .animation^ animandosi.
An octaye higher. AlTottava
(8v'a , j^r 8 , or gva
alia).
An octave lower, All'ottava bassa (#w
bassa).
Anxious(ly). Ansioso (ansiosamente) t
affanoso (affanosamente) ; timoroso
(timorosamente ; con timore).
Ardent(ly). Ardente (con ardore) ; fer-
vente (con fervore).
Artless(ly). Jnnocente (innocentemente);
semplice (semplicemente) ; naturale
(naturalraertfe).
As. Come.
As above. Come sopra.
As before. Corne avanti ; come priraa
As far as. Fino, or fin 1 ; sino, or sin*.
Aside. In disparte. -
As if. Quasi.
As usual. Al solito.
As written. Come sta; loco (after
Sm ; or simply terminate
dotted line with a down-stroke).
At a distance. In distanza; in lon-
tananza ; da lontano. ' r
At pleasure. A piacere ; ad libitum j a
bene placito; senza tempo; a suo
arbitrio.
At sight, A prima vista.
Attack. Attacca, attaccate (pl)\ at*
tack instantly \ attacca(te) subito;
At the former tempo. A teinpo, or
Tempo I ; moto precedente.
B,
Babbling, Stracdcalando.
Back to, the sign. Dal segno
. .Back to the beginning, da capa
Backwards. Al rovescio.
Begin (to). Attaccare, , . Btfi* / attacca;
attaccate... To begin again, ripigljare.
Beginning. Principle; capo.
Below. Sotto ; below the left hand % sotto
la mano sinistra.
250
BITTERLY DIVIDED.
Bitter(ly). Amarevole (con amarezza).
Bizarre(ly). Bizzarre (bizzarramente,
con bizzarreria).
Boisterous(ly). Strepitoso (strepitosa-
mente, constrepito) ; brioso (con brio);
tempestoso (tempestosamente).
Bold(ly). Ardito (con arditezza); fiero
(fieramente ; con bravura ; francamente;
confierezza); intrepido (intrepidamente,
conintrepidezza; tostamente).
Bound. Legato.
Brilliantly. Brillante ; scintiilante.
Brisk(ly). Vivo (vivamente) ; visto
(vistamente) ; allegro (allegramente) ;
lesto; vivace.
Broad(ly). Largo (largamente, con
larghezza); (frase larga) ; very broad(ly),
larghissimo (molto largamente) \growing
broader i largando, allargando...
Broader, pih largamente.
Brasquely. Bruscamente.
Burlesque(ly). Burlesco (burlescamente).
But, Ma.
By. Da ; oy leap or skips, di salto.
c.
Calm(ly). Tranquillo (tranquillamente,
con tranquillita) ; placido, (placida-
mente) ; quieto. . , Growing calmer,
calmando ; calando ; raddolcendo,
raddolcente.
Caprice. Capriccio ; capricious, capric-
cioso, vicendevole; capriciously, a
capriccio, vicendevolmente.
Carefully. Con diligenza; con osser-
vanza ; con precisione.
Careless(ly). Negligente (negligente-
mente).
Caressing(ly). Carrezzando, carrez-
zevole (carezzevolmente) ; accarrezzevole
(accarrezzevolmente).
Certain (adj.). Alcuno,-a.
Change 1 Muta.
Chant. [$te Melody]
Charmingly), Vezzoso (vezzosamente).
Chaste. Nobile.
Clear(ly). Chiaro (chiaramente) ; netto
(nettamente).
Coaxing(ly). Lusingando, lusinghevole
(lusinghevolmente).
Cold(ly). Freddo (freddamente, con
freddezza).
Comic(ally). Buffo,-a; buffonesco (buf-
fonescamente). x
Complaining. Lamentando, lamente-
vole ; lagrimando, lagrimoso.
Connectly. Legato.
Consoling(ly). Consolante.
Continually. Sempre.
Continue. Va.
Contra-dance. Conrraddanza.
Coquettishly. Con civetteria.
Country-dance. Contraddanza.
Cradle-song. Ninna-nanna ; ninnerella.
D.
Dark. Cupo.
Dashing. Sbalzato ; precipitato.
Decided(ly). Deciso; fermo (con fer-
mezza) ; energico (con energia).
Declamatory. Declamando ; narrante ;
parlando.
Decreasing (in force). Decrescendo ;
diminuendo ; raddolcendo ; diluendo.
Decreasing (in speed). Rallentando;
ritardando ; ritenente ; tardando ;
lentando ; slentando ; strascinando ;
rilasciando; rilasciante. " ,
Decreasing (in force and speed). Cal-
ando ; .deficiendo ; mancando ; mo-
rendo ; sminuendo ; smorzando.
Deliberate(ly)* Deliberato (delibera-
mente).
Delicate(ly)* Delicato (delicatamente,
con delicatezza) ; tenero (teneramente,
con tenerezza).
Desperate(ly). Disperato (con dispera-
zione).
Detached. Staccato, distaccato ; pic-
chettato ; very detached, staccatissimo.
Determined. Determinate ; risoluto*
Devotional(ly). Devoto (devotamente,
con devozione); religioso (religiosa-
, mente).
Dignified. Posato ; grave.
Discreet(ly). Discrete (con discrezione).
Disdain. [See Scorn.]
Distant. Lontano; at a distance, da
lontano, in lontananza, in distanza,
Distinct(ly). Chiaro (chiaramente) ; ben
marcato; distinto (distintamente),
Distressed. Appenato,
Divided, Divisl
DOLEFUL -FREELV.
25*
Dolefully). Dolendo,dolente (con dolore,
dolentemente).
Dragging. Stentando ; strascinando ;
strascicando ; stirato.
Drawling. Strascicando.
Dreaming. So&nando.
Dreamy. Vago... Dreamily, quasi so-
gnando.
Drinking-song. Brindisi.
Droll. Buffonesco.
Dry. Secco.
Dwelt upon. Temito, sostenuto.
Dying away. Morendo ; smorzando ;
mancando ; perdendosi ; diluendo ;
espirando ; estinguendo, stingueado.
E.
Easy, Agevole ; commodo ; disinvolto ;
facile ; mobile. . * Easily, con agevolezza,
agevolmente ; agiatamente ; commoda-
mente ; facilmente ; con disinvoltura.
Echo. Ecco . . . Like an echo, quasi ecco.
Elegant(ly). Garbato (congarbo). [See
Graceful,}
Emphatic(ally). Enfatico (conenfasi);
marcato ; sforzato.
End. Fine. . . To the end, sin' (or fin*)
al fine.
Energetic(ally). Energico (energica-
mente, con energia) ; risentito ; riso-
luto (risolutamente, con risoluzione).
Enlivening (tempo). Ravvivando il
tempo ; animandosi, animando.
Entbjisiastic(ally). Zeloso (con zelo;
con entusiasmo).
Entreating(ly). Supplichevole (sup-
plichevolmente).
' Equal(ly). Eguale (egualmente) ; equa-
bile (equabilmente).
Even(ly). Eguale (egualmente) ; uguale
(ugualmente) ; tepido (tepidamente) ;
spianato.
Exact. Esatto...^M exactness, con
esatezza. [See Precise.]
Expiring. Espirando. [See Dying
away]
Expressive(ly). Espressivo (con
espressione); sentito, risentito; pietoso;
sentimentale ; (con sentimento ; con
sensibilita).
Extempore. AlTimprowista ; alia
mente . . . Extemforantously, improv-
visamentet
Extinct Estinto.
Extravagant (ly). Straragante (stra-
vagantemente).
Extreme. Sommo,-a.
Extremely. Molto, di molto ; -issimo.
F.
Fading away. [See Dying away*]
Faint. Fiacco; debile; estinto.
Fantastic. Fantastico.
Fast. Allegro ; vivace ; vivo ; presto.
, . Very fast, allegro molto, allegro
assai, allegro vivo ; vivacissimo ; pre-
stissimo. . Rather fast, allegretto, al-
legro moderate... .#"<?/ too fast, non
troppo allegro. . . Twice as fast^ doppio
movimento ; not so fast, meno mosso.
Faster. Piu mosso ; piu allegro ; pifc
presto; veloce...J 7 J^r and faster,
sempre accelerando; pressando, pres-
sante.
Fearful(ly). Paventato ; timido (timi-
damente) ; timoroso (timorosamente ;
con timore).
Feeble. Debile, debole.
Feelingly. [See Expressively]
Fervent(ly). Fervente (con fenrore) ;
ardente (con ardore).
Festively). Festivo (festivamente).
Fierce(ly). Feroce (con ferocita) ; fiero
(fieramente) ; barbaro.
Fiery. Fuocoso ; con fuoco ; ardente.
Finn(ly), Fermo (fermamente, con fer-
mezza)*
First part. Primo (in a duet} ; Jirsi
'time, prima volta ( |h I).
Flatteringf(Iy). Lusingando, lusin-
ghevole (lusinghevolmente).
Flowing(ly). Scorrendo, scorrevple;
disinvolto (con disinvoltura) ; sciolto
(scioltamente) ; andante (andantemente).
Fluently. Volubilmente. \jtet Flowing]
Flying. Volante.
Fdllowing. Seguente, seguendo.
Fond(ly). Amorevole (amorevobnente,
con amore) ; amoroso (amorosamente).
For. Per . . . For voices alone, a cappella.
Forcibly. Con forza;^ broscamente ;
con tutta forza.
Forcing. Forzando, sforzando.
Free(iy). Disinvolto (con disinvoltura;
francamente, con franchezza; libera*
mente); generoso; sciolto (scioltamente).
FRENZY- IN 'MILITARY STYLE.
Frenzy, Delirio ; frenzicd(ly), delirante
. (con delirio ; con rabbia).
From. Da. ..From the beginning, Da
capo...r0/tf the sign^ Dal segno;
from the sign to the sign, Dal segno al
segno,
Full. Pieno,-a.
Funereal Funebre.
Furious(ly). Furioso (furiosamente ;
con rabbia); with extreme fury or
passion, furiosissimamente.
Gay. Gajo ; giojoso. . . Gaily , gajamente,
giojosamente.
Gliding. Glissando ; portamento, por-
tando; scorrendo; strisciando.
Gondola-song. Gondoliera.
Go on I Va.
Gracefully). Grazioso (graziosamente,
con grazia ; con garbo) ; disinvolto
,(con disinvoltura) ; galante (galante-
mente) ; elegante (elegantemente) ; vez-
zoso (vezzosamente) ; venusto. . . Grace-
fully and sweetly, affabile, amabile.
Gradually. A poco a poco ; gradata-
mente.
Grand{ly). Grandiose; nobile (nobil-
mente, con nobilta).
Grave(ly). Grave (gravemente, con
gravita).
Grotesque(ly). Grottesco ; burlesco (bur-
lescamente).
Growing. [See Decreasing and Increas-
ing^
H.
Half. Mezzo,-a. . .Half -loud, mezzo forte;
half-soft^ mezzo piano, mezza yoce.
Hammered. Martellato.
Harsh(ly). Aspro (con asprezza); duro
(duramente) ; stridente.
Harshness. Asprezza ; durezza.
, Hastening. Accelerando ; stringendo ;
affrettando ; calcandc-. , '
Haughty. JI&Q.,, Haughtily^' fiera-
mente.
Heartfelt. Intimo, intimissimo ; affet-
tuoso, con affetto.
Heavy. Ponderoso ; pesante ; grave. . .
.Heavily, pesantemente, gravemente.
Held back. Ritenuto; -trattenuto;
. taeno mossp. , . . , ... j
Held down. Tenuto.
Heroic. Eroico r a.
Hesitating(ly). Irresolute ; timidb- (ti^
midamente) ; vacillando.
High. Mto,-&... Highest, ii ipii'alto,
altissimo. . .In the higher octave > ottava
alta (8va ........ ).
Hoarse(ly). Fioco (con fiochezza).
Holding back (temp}. Ritenente;
ritardando.
Humowusiy. Con umore.
Hurried(ly). Affrettoso (con fretta)?
frettoloso (frettolosamente).
Hurrying. Affrettando; stringendo
I,
Se.
Imitating. Imitando ; quasi,
Impassioned. Appassionato, appassio-
natamente; con abbandono, abbando-
natamente ; caloroso.
Impatient(ly). Impatiente (impatiente-
mente).
Imperceptible. Insensibile ; impercep.
tibly, insensibilmente. .
Imperious(ly). Imperioso (imperiosa-
mente).
Impetuously). Impetuoso (con impeto,
impetuosamente, con impetuosha) ;
sbalzr;ato; tempestoso (tempestosa-
mente).
Imposing. Imponente.
In a festive manner. Con festivita,
In a gentle, quiet manner. Con lenezza,
In a sweet manner. Con dolce maniera.
Increasing (in speed}. Accelerando ;'
stringendo ; affrettando ; incalzando ;
ravvivando il tempo ; doppio movimento:
Increasing (in force). Crescendo ; ao
crescendo ; rinforzando. :
Increasing (in force and speed}. Strin-
gendo; affrettando; incalzando. a \ +.
In declamatory $tyle., Declamandlo^
recitando; narrante; parlandb, t V;
In devotional style. Devoto, con He-
vozione.
Indifferent(ly). Indiffererite (indiffe.
rentemente ; con indifferenza) ; tepido
(tepidamente),
Infernal. Infernale.
In haste. Con fretta.
In military style.
IN MODERN STYLE-MUFFLED.
253
In modern style. Alia moderna.
In octaves. Doppio pedale (organ-
pedal) ; coll'ottava (coir$ )
Insinuating. [See Flattering]
tntense(ly). Intense (intensamente, con
intensita).
In the same manner. Simile.
In the same time. L'istesso tempo ;
moto precedents
In the style of a. Alia.
In time. A tempo; Tempo 1; misurato
(after a recitative).
Ironical(ly). Ironico (ironicamente).
Irresolute(Iy). Irresoluto (con irreso-
luzione).
J.
Jesting(ly). Scherzando ; giocoso (gio-
cosamente).
Jovially. Con giovialita.
Joyous(ly). Giojoso (giojosamente) ;
gaudioso.
Jubilant(ly). Giubiloso (con giubilio,
con giubilazione).
Judiciously). Discrete (con discrezione).
L.
Lamenting. Lamentando, lamentabile,
lamentoso ; piangendo.
Languid(ly). Languido (con languore,
languidamente).
Lanuishing(ly). Languendo (langui-
damente).
Left hand. Mano sinistra.
Leisurely. Adagietto ; moderate. . .
Rather leisurely, commodetto.
Less. Meno.
Light(ly). Leggero or Leggiero (leg-
geramente, con leggerezza ; agilmente) ;
sfogato ; svelto.
Lingering(ly). Tardo, tardando (tarda-
- mente)* *
Little by little. A poco a poco.
Lively.. Vivace, vivacemente ; vivo, viva-
mente ; allegro, allegramente ; visto,
vistamente ; con allegrezza ; svegliato ;
lesto ; desto.
Lofty. Nobile ; fastoso : pomposo ;
elevato...Z0/#/y, con nobilta; con
pompa.
Longingly. Con desiderio.
Loud. Forte; con forza; very
fortissimo ; extremely loud, con tutta
forza, forte possibile (fff) ; half-loud*
mezzo forte ; loud, suddenly decreasing
to soft, forte piano (fp).
Louder. Piii forte ; crescendo ; rinfor-
zando.
Love. Amore.
Loving(ly). Amorevole, amoroso (con
amore, amorosamente) ; amabile.
Lullaby. Ninnerella, ninna-nanna.
Lyric. Lirico.
M.
Majestic(ally). Maestoso, maestevole*
(maestosamente, conmaesta) ; pomposo
(con pompa) ; fastoso (fastosamente).
Manner. Maniera ; in a quiet manner^
con dike maniera. [See /.]
Marked. Marcato; con forza; rinfor-
zato, rinforzando ; enfatico ; sforzato
sforzando (sfz).
May song. Maggiolata.
Measured, Misurato.
Medley. Mescolanza ; olio ; pasticcio*
Melancholy. Malinconico ; with mel
ancholy, malinconicamente, con malin-
conia.
Melody, La melodia. II canto. La
parte. . .Mark (or accent) and " carry"
the melody, Marcancfo e portando la
melodia (il canto) ; ben e precisaniente
portando la melodia ; la melodia (il
canto) ben portando ed espressiva,
Menacing (ly). Minaccevole (miuacce-
volmente).
Mildly. Dolce ; (dolcemente, coa dol-
cezza) ; piacevole ; affabile.
Moderate(ly) (speed). Moderate (mode-
ratamente); non troppo allegro*
More. Piii ; more sldwly^ piti lente; pi&
Most. Hpid. ,
Mournful(ly). Mesto (mestameote) ,
addolorato; amarevole (a mare vol.
mente) ; flebile ; funebre ; lugubre ;
(conespressione di patimento) ; dolente
Mouth. Bocca ; with cksed mouth* con
bocca chiusa.
Moved. Concitato. [See Agitated^
Movement. Movimento.
Much. Molto.
Muffled. Coperto ; suffocate; sordo
(sordameute); con sordini
MURMURING-RINGINGLY.
Murmuring, Mormorando; susurrando.
Muted. Con sordino (pL con sordini).
Mysterious(ly). Misterioso (misteriosa-
mente); cupo.
N.
Natural(ly). Naturale (naturalmente).
[See Simple.]
Nearly. Quasi.
Neatly). Netto (nettamente) ; leg-
giadro (leggiadramente).
Negligent(ly). Negligente (negligente-
mente, con negligenza).
Night-piece. Notturno.
Nimble. Agile ; svelto ; sciolto. .
Nimbly \ agilmente, con agiliti ; sciolta-
mente; allegramente.
Nobly. Nobilmente, con nobiltL
Noisy. [See Boisterous]
Not. Non. . .Not so, meno ; not so fast \
meno mosso, meno allegro ; not too,
non troppo ; non tanto.
0.'
Obliged (necessary). Qbbligato.
Obscure* Cupo; misterioso.
DL
On. Su ; sopra (above).
Or. 0, od (before a vowel); or else,
ossia ; oppure ; owero.
Other, AItro,-a.
P.
Passionately), Passionato (passionata-
mente) ; appassionato (appassionata-
mente) ; (con passione) ; ardente (con
ardore) ; fervente (con fervore) \ furioso
(con furore) ; caloroso (con calore).
Pastora 1 . Pastorale ; rustico ; campestre.
Pathetic(ally). Patetico (patetica-
mente); doloroso (dolorosamente, con
dolore).
Pensive, Pensieroso,
Phrase (to). Fraseggiare . . . W e 1 1
pbrostdi ben fraseggiando.
Piece. Pezzo.
Pi^uantly. Con piccanteria.
Placid(ly). Placido(pkddamente). [See
Tranquil]
Plaintive(ly). Lamentando; dolendo,
dolente, doloroso (con dolore, dolorosa-
mente) j addolorato; flebile; piangendo.
[See JTMT nful.]
Playful(ly). Ginochevole, giuocame :
(con giuoco) ; giocoso (giocosamente) ;
scherzoso, scherzando.
Pleading(ly). Supplicando, suppliche-
vole (supplichevolmente).
Pleasing(ly). Piacevole (piacevolmente),
compiacevole ; gradevole (gradevol-
mente).
Pompous(ly). Pomposo (con pompa) ;
fastoso (fastosamente).
Ponderous. Ponderoso ; pesante.
Possible. Possibile ; as fast as pos-
sible, presto possibile ; as loud as pos-
sible, forte possibile ; con tutta forza.
Prattling. Straccicalando.
Prayer. Preghiera.
Precipitate(ly). Precipitate, precipi-
toso, precipitando (precipitatamente).
Precisely). Preciso (con precisione).
Pressing (tempo). Stringendo, pressante ;
Expression) insistendo.
Prompt(ly). Pronto (prontamente, con
prontezza),
Pronounced. Pronunziato.
Proud(ly). Fiero (fieramente) ; altiero
(altieramente, con alterezza).
Psalm. Salmo.
Q.
Quiet (ly). Quieto ; tranquillo (tranquilla-
mente ; con lenezza). [See Tranquil]
R.
Rapid(ly)'. Rapido (rapidamente, con
rapidita) ; celere ; veloce (velocemente,
con velocita, velodssimamente) ; mosso
(in phrases like meno mosso, piti mosso,
etc.) ; tosto (tostamente), [quanto.
Rather. Quasi'; piuttosto ; poco ; al-
Refined. Nobile (nobilmente).
.^Hgious(ly), Religiose (religiosa-
mente) ; devoto (devotamente).
Reposeful(ly). Riposato (ri.posata-
mente).
Resonant(ly). Sonoro; sonante (con
risonanza ; sonoramente, con sonorita).
Restless. Inquieto.
Resume (to). Ripigliare ; riprendere.
Reverie. Meditazione.
Rhythmized. Ben ritmato.
Right hand. Mano destra.
Ringing(ly), Sonoro (sonoramente, cou
sononta). .
ROMPING-THAN,
255
Romping. Burlando.
Rough(ly). Aspro (con asprezza) ; ru-
vido (ruvidamente) ; (bruscamente).
Rustic, Rustico ; campestre ; pastorale.
s.
Sad(ly). Tristo (tristamente, con tri-
stezza) ; mesto (mestamente, con mesti-
zia) ; languendo, languente ; dolente.
Same (the). Medesimo ; detto ; stesso.
Scorn. Sdegno ; scornful(fy\ sdegnoso
(sdegnosamente).
Second part. Secondo (in a duet}.
Second time. Secondavolta. (HT 1.)
Serious(ly). Serioso (con serieti).
Sighing. Sospirando, sospirevole, so-
spiroso.
Similarly, Simile,
Simple. Semplice ; schietto ; naturale.
..Simply, semplicemente, con sem-
pliciti ; schiettamente, con schiettezza ;
naturalmente.
Singing. Cantando ; melodico. . *In a
singing style >, cantabile.
Sketch. Bozzetto.
Sliding. Sdrucciolando.
Slow(ly). Adagio; lento (lentamente,
con lentezza) ; very slow, lento molto,
adagissimo ; grave ; largo ; rather
slow, andante, andantmo, adagietto
moderate.
Slower. Meno mosso ; pih adagio ; pih
lento. [See Decreasing^. . . Slower and
slower, a poco a poco rallentando (or
ritardando).
Slurring. Legato; portamento, por-
tando ; slissando.
Smooth(ly). Legato; eguale (egual
mente) ; piacevole (piacevolmente) 4
slissato; soave (soavemente) ; stri
sciando.
Sobbing. Singhiozzando.
Soft(ly). Piano; dolce (dolcemente
mollemente) ; very soft, pianissimo
dolcissimo ; estinto.
Softer. Meno forte. [See Decreasing.
Solemn(ly). Solenne (solennemente
con solennita).
Somewhat. Poco ; quasi
Song. [See Melody}
Sonorous(ly). Sonoro (sonoramente, con
sonorita).
torrowful(ly), Afflitto (con afflizionej ;
mesto (raestamente) ; doloroso (doloro>
samente).
Sparkling. Brillante ; scintiliante.
Spirited(ly). Spjritoso (spiritosamente.
con spirito) ; brioso (con brio).
Sportive. [See Playful}
Uprightly. Desto.
Bringing. Saltando.
Stern(ly). Duro (duramente),
Sternness. Durezza.
Stifled. Suffocato ; con vocesuffocata-
Still. Ancora; still faster* ancor pii
inosso ; still slower, ancor pft lento,
ancor pifc moderate.
Strict(ly). Giusto (giustamente, con
giustezza); severo (severamente)...
Strictly in time, a (or al) rigore di tempo;
tempo rigoroso ; misurato ; aggiusta-
tamente ; andare a tempo ; a battuta.
(Ben misurato. Ben ritmato).
Strident. Stridente.
Style. Stilo ; modo. , Jn the style of a,
alia ; in modo.
Suave(ly). Soave (soavemente, con
soavita) ; dolce (dolcemente, con doi*
cezza, con dolce maniera).
Sublime. Elevato ; nobile.
Suddenly. Subito, subitamente; di colpa
Supplicating(ly). Supplicando, sup-
plichevoie (supplichevolmente).
Sustainedly. Sostenuto, sostenendoj
sostenente.
Sweet(ly), Dolce (dolcemente) ; affabile,
amabile. [See Swue^.
dolcissimo.
Swelling. Crescendo.
Swift. [SeeJfttf&l
Sympathetic(aUy). Pietoso (con
Tastefully). Gustoso (con gusto).
Tearful(ly). Lagrimoso, lagrimandoj
piangendo ; flebile ; (con pianto).
Tempestuously). Tempestoso (ten-
pestosamente).
Tender(ly). Tenero (teneramente, con
tenerezza) ; dolce (dolcemente, con
dolcezza) ; aff ettuoso (affettuosamente,
con affezione) ; amabile ; amorevole
amoroso ; lirico.
Than* De,
THEN-WITH EASE.
Then. Allora ; pol
Thoughtful, Pensieroso.
Threateningly). Minacciando, minac-
cioso, minaccevole(mmaccevolmente).
Timid(ly). Timido (timidamente, con
timidezza).
Timorous. Timoroso (timorosamente,
con timoreX
Tinkling. Squillante.
To. A, ad (before a vowel). To the
sign, al segno.
Together. Unisono ; tutti.
Too. Anche {also}; troppo ; not too
fast, non troppo allegro ; not too slow,
non troppo lento.
^Tranctuil(ly). . Tranquiilo (tranquilla-
mente, con tranquillita) ; placido(placi-
damente, con placidezza) ; spianato.
. [See Quietly.}
Tremblingly). Tremolo; tremolando,
tremoloso (tremolosamente).
Triumphantly). Trionfante (trionfal-
^ raente).
Tune. [See Melody.}
Turn over quickly. Volti subito.
Twice as fast. Doppio movimento.
u.
Under. Sotto; under the right hand,
sotto la mano.destra,
Undulating. Ondeggiante; tremando,
tremolosa
Uneasy. Affannato, affannoso; uneasily,
affannosamente.
Unimpassioned. Tepido.
Unrestful, Inquieto.
Until. Fino (fin') ; sino (sin').
Upon, Su ; sopra.
Up to. [See Until.}
Urgent(ly). Insistendo (con insistenza);
instante (instantemente).
V.
Vague. Vago.
Vehement(ly). Veemente (con vee-
menza) ; acciaocato ; sforzando ; feroce
(con ferocita ; con islancio); smaniante.
Very. Molto ; assai ; ben(e) . . . Very
slow, molto lento ; very moderate ^ molto
moderatp; very fast, molto allegro, alle-
gro assai ; presto, prestissimo, prestissi-
mamente ; very marked, ben marcato,
marcatissimo ; very soft, pianissimo,
dolcissimo ; (vocal) a fior di labbra;
very loud, fortissimo.
Vibrant, Vibrating. Vibrante.
Vigorous(ly). Vigoroso (vigorosamente,
con vigore).
Violently). Violento, violente (violente-
mente). [See Impetuous \\
Vivacious. [See Animated}
Voice. Voce', canto, parte; with th
voice, colla voce, collaparte, col canto.
Wailing. Lamentando ; piangendo.
Warlike. Guerriero ; bellicose ; in war*
like style, bellicoso, bellicosamente* r x '
Warmly. Con calore, caloroso.
Wavering. Tremolando ; vacillando.
Weak. >Debile, debole.
Well. Bene, ben. . . Well marked, ben
marcato, or ben pronunziato; well
rhythmed, ben ritmato ; well sustained,
ben tenuto, or ben sostenuto.,. Welt
phrased, ben fraseggiando.
Whim. Ghiribizzo ; capriccio ; fantasia,
Whimsical. Ghiribizzoso.
Whispering. Susurrando, susurrante*
Wild(ly). Feroce (ferocemente) ; fierc
(fieramente).
With affectation. Smorfioso.
With affection (pathos). Con affetto
With anger. Con ira, irato.
With anguish. Angoscioso, angoscio-
samente.
With ardor. Con affetto ; con ardore,
With boldness. Con fiducia,
With breadth. Largo, 'largamente.
With confidence. Con fiducia.
With constantly increasing warmth;
Sempre incalzando.
With decision, Deciso.
With deliberation. Con lentezza;
lentamente.
With desperation. Con disperazione
With discretion. Con discrezione,
discreto.
With distinctness. Distintamente, di-
stinto ; con chiarezza ; marcato, mar-
cando.
With ease. Con agevolezza*
WITH EMOTION-ZEPHYR-LIKE.
257
With emotion. Con affetto; con
affezione.
With energy. Conenergia,
With expression, Con espressione,
expressivo; sensibile, sentito.
With facility. Con agevokzza,
With feeling, Sensibile, sentito.
With fervor, Concalore.
With firmness, Con fermezza,
With frenzy. Con delirio, con rabbia.
With grace. Con grazia, con eleganza,
grazioso, elegantemente,
With grandeur, Congrandezza,grandi-
oso.
With grief, Con duolo, con dolore.
With growing animation, Animando,
animandosi ; rawivando,
With impetuosity* Con impeto.
With intensity. Con intensitl
With lightness, Con leggerezza, leg-
gerniente ; con disinvoltura.
With longing, Con desiderio,
With mandolin-effect. Mandolinata.
With much passion, Con molta pas-
sione,
With nobility. Con nobilti
With promptness. Con prontezza.
With rapidity. Con prestezza,
With resolution. Con risoluzione.
With resonance, Con sorioriti
With sadness. Con tristezza,
With spirit. Conspirito; conanima;
con brio,
With sweetness, Con soaviti,
With tears. Piangendo ; lagrimando,
With the bow, ColTarco ; arcatq.
'With the fingers. Pizzicato (violin).
With the left hand. Colla mano sinistra
(usually simply m.s^ or colla sinistra
(r . A)
With the loud pedal. Ped.; tre corde
(afUr una corda) ; with pedal through*
out) sempre pedale,
With the octave, Coll'ottava
(coirs ),
With the right hand, Colk mano
destra (usually simply m. d\ or colla
destra (c. <)
With the soft pedal. Una corda.
With the stick, Collegno.
With the voice. Colla voce; COL
parte ; col canto.
With warmth. Con calorositl ; con
calore.
With wrath, Conira; irato.
Without, Senza.
Without accelerating, Senza ac-
celerate,
Without altering, Senza alterare,
Without growing slower. Senza ral-
lentare*
Without interruption, Senza inter-
ruzione, .
Without repeating. Senza ripetizione.
Without retarding, Senza ritardare;
senzadiskntare*
Without stopping. Senza fennarsi,
Without taking breath. Senza
spirare.
Without the mutes* Senza sordid.
Wrathful(ly). Adirato (con ira),
Zealoiis(ly). Zeloso (zelosamente, con
zelo).
Zephyr-like, Zeffiroso,
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